Silence

“I pray but I am lost. Am I just praying to silence?”

For decades Martin Scorsese has been pushing the limits of the cinematic medium through evocative styling and directorial decisions as a channel for storytelling – so perhaps it’s telling that one of his greatest achievements is his new film, the understated, brooding, minimalistic Silence.

In the 1630s, news reaches St Paul’s College, Macau that Cristóvão Ferreira (Liam Neeson), a Portuguese Jesuit who had helped bring Christianity to the people of Japan, has renounced his faith after being tortured in the anti-Christian purges of Japan. Two of Ferreira’s devout pupils, Father Sebastião Rodrigues (Andrew Garfield) and Francisco Garupe (Adam Driver) cannot believe that their mentor would commit apostasy and set out on a three year long journey to find him.

With the help of an alcoholic fisherman, Kichijiro (Yôsuke Kubozuka) the priests reach Japan and land at Tomogi, a small village with a secret Christian population to which the priests administer the sacrament. Soon however a band of Samurais led by “The Inquisitor” (Issei Ogata) arrive in the village, looking to flush out Christianity from the land and are after the Jesuit priests. Meanwhile, the fate of Father Ferreira remains a mystery.

With Silence, Scorsese strips away the directorial personality he’s built up over nearly fifty years of filmmaking. His camera is almost always static because the beauty and terror of what’s on-screen speaks for itself. The Kluge siblings score is practically non-existent, because like with a smattering of examples from Raging Bull, The Last Temptation of Christ, Goodfellas and The Departed, Scorsese’s use of silence is the most powerful sound. His co-authored screenplay doesn’t draw you in like some of his others, but is true to the novel, and aside from a smaller than you might expect role from Liam Neeson, his frequent collaborators are nowhere to be seen. What hasn’t changed is his undying passion and dedication to storytelling. Twenty-five plus years of research, understanding and maturity went into the creation of this, one of his most impressive films to date.

To suggest however that Silence isn’t cinematic would be an injustice to DoP Rodrigo Prieto’s work and would gloss over one of the crucial elements that ties Silence together. With a distinctly minimalist look and feel, the character of the landscape is as mysterious and unforgiving as the inquisitor himself. If Raging Bull is Scorsese’s most physical portrayal of the harsh realities of the body, then Silence is his most visceral representation of how abusively all-encompassing nature can be, and is central to the films depiction of the direct correlation between Buddhist beliefs and the environment – a determinate factor in the fate of the Christian communities living under such intense persecution.

Indeed the core focus of the film is to find some sort of reconciliation between the ancient undying beliefs held in 17th Century Japan and the influx of Christianity, a task simply impossible for the time with many indirect victims on both sides. Layered on top of that is the challenge for these priests and the persecuted population to maintain unwavering faith with no sign or manifestation from their deity; only silence. Where some films use cinematic technique to manipulate audiences, Silence simply lays down a narrative and lets the viewer draw meaning. Faith is cruel and unexplained, as is humanity, and it’s up to the audience to find some sort of answer or at the very least closure from that.

Ultimately though this is the story of one man’s crisis of faith. Garfield’s Rodrigues takes centre stage for the vast majority of the film and suffers immensely at the hands of a people trying to protect their dynasty from what they see as a spiritual pollutant. Rodrigues is torn between his search for answers in regards to Father Ferreira, a desire to peacefully serve the oppressed Christian Japanese, and personal spiritual uncertainties that have been brooding throughout his Mission. This is Andrew Garfield’s best performance to date, brimming with compassion, suffering and spiritual rumination. Driver is similarly fantastic, although as with Neeson his time on screen is limited compared to Garfield. Some of the best depictions come from the hugely talented Japanese cast. Yoshi Oida as the Elder of Tomogi, Shin'ya Tsukamoto - one of the oppressed villagers, and Issei Ogata as the horrific yet somehow serene Inquisitor are all superb in their roles.

Silence is an extremely rare example of elemental filmmaking that will have hugely varied effects on audience. It will enlighten some, bore others and destroy many. It trusts so deeply in its own material and the themes buried beneath that it’s willing to leave audiences with questions unanswered, perhaps to dig deeper if they can find themselves ever watching it again. It may not have the mainstream appeal of Wolf of Wall Street, but Silence is nevertheless, a masterpiece.

Arrival

Science-fiction movies have become a lot different to what the genre is supposed to be about. Instead of asking philosophical questions about the nature of man, like we see in Forbidden Planet and 2001: A Space Odyssey, the genre has become another extension of the action genre with movies like Guardians of the Galaxy and Independence Day. Denis Villeneuve's latest movie, however, puts the sci-fi elements firmly in the backseat and focuses instead on the human involvement in an alien arrival on Earth.

The world plunges into chaos as twelve mysterious alien vessels land at various spots around the globe. While the public starts to question why they came and why the aliens haven't reached out, the militaries of the country that each vessel is in becomes proactive about looking for answers. Linguistics professor Louise Banks (Amy Adams) is contacted by Colonel Weber (Forest Whitaker) to lead the team that will attempt to speak to the aliens. With her to try and interpret the answers is theoretical physicist Ian Donnelly (Jeremy Renner). Lurking in the background is CIA Agent Halpern (Michael Stuhlbarg), who seems to make his decisions based on what the Russian and Chinese forces are doing in regard to their alien vessels.

It is incredibly hard to talk about this film in broad brush strokes so as to not ruin the film, because so much of makes Arrival great is in its detail. The whole theme of language that runs throughout the film is pretty fantastic because it makes the point of how vital language is to our culture. This is something that we take for granted everyday and never stop to think how everything would fall apart without it. Even the way the film breaks down simple sentence structure really makes you think. And if what I just said makes you roll your eyes, then you probably weren't thinking that this movie was going to be a two hour linguistics class, which it kind of is. Because of this, the movie works at its own pace and isn't hurried along in the way that other movies feel the need to. There was one explosion, but I feel like this was included just because the studio said there should be one.

The other fantastic thing about this movie is that it has a female lead who isn't overshadowed by her male co-stars that seems to happen when a blockbuster has a female lead. The whole way through, Amy Adams commands the screen and she doesn't get shafted by the male characters thinking they know better. Another good turn that this movie does with her is around her recruitment to the mission. Sci-fi movies have the trope of the team of experts being chosen just because they happen to be lying around, but here Louise has to prove that she is the top person for the job. Adams performance is also one of the best I've seen her give. This isn't a spoiler, but the film begins with a whole montage of her raising her daughter and ultimately has to give her up because she dies from a rare disease. This montage lasts a total of two minutes and really lets you get a feel for who the character is through an amazing performance.

The writing did have a few dodgy areas that felt a bit jarring. Once the film gets going and the team starts to be able to communicate with the aliens, there is a montage showing them learning the language with a voice over about their language. Instead of having linguist Laura giving this monologue, it is Ian, the theoretical physicist doing it. It just felt like a weird logical point not to have the linguist character not talking about language. The was line where the on site doctor bluntly asked Louise if she was pregnant. This does have a point in the movie but it was delivered in a bit of a harsh way and takes you out of the film for just a second.

I'm going to give Arrival the top score for its originality and ability to distinguish itself for other films being released in the genre. Villeneuve is able to focus on the human element of the film which is something that so many alien movies are unable to do. The threat in the movie doesn't come from the other, but rather those we are familiar. Also it had a twist that ended up making me second guess myself.

Me and Earl and The Dying Girl

Recently movies that deal with the theme of characters dying from cancer have seemed extremely shallow and superfluous (I'm looking at you Fault in Our Stars). To me they never capture the raw emotions that people experience when someone close to them develops a terminal illness, instead just using superficial manipulation to elicit an emotional response from the audience. However, Alfonso Gomez-Rejon's sophomore feature goes deeper than this whilst touching on a number of other issues.

Greg (Thomas Mann) tries extremely hard not to stick out in high school by becoming as invisible as he can to the other students. He and his friend Earl (RJ Cyler) both are passionate about classic cinema and since they were younger have made low-fi remakes of these films (A Sockwork Orange is a personal favourite of mine). One day Greg learns from his parents that a childhood friend of his has been diagnosed with leukaemia. His mother forces him to spend time with Rachel (Olivia Cooke), the titular dying girl, but as time progresses she eventually becomes Greg's, and by extension Earl's, friend.

It is an absolute joy to watch this film. It is raw and honest in its portrayal of people's reactions to knowing someone who has been diagnosed with cancer, which is a more important story to tell because unless you yourself have been dealt such a blow, you will never know what it is like. But chances are you know at least one person who has. And through this you are genuinely moved by how the characters deal with each revelation.

Whilst the film is about dealing with cancer, it also touches on a number of other issues. Me and Earl and The Dying Girl is also a movie about high school and the teen angst that is the undercurrent through those years. Greg makes a concerted effort to label each and every group he comes across, but the people he does this too eventually buck this trend (a big example of this is the character of Madison, who is typified as an attractive girl who stomps on the hearts of less popular guys).

The movie also touches very subtly on racial inequality. Earl is seen to live in a poorer part of Pittsburgh (where the film is set). The film has no qualms about showing that this is due to the fact that is a lower socio-economic area. Rejon also examines the idea of platonic love. It is obvious that Greg is in love with Rachel, but he never acts on it in a romantic way (except for maybe the ending).

Rejon also makes the film a love letter to classic cinema, as it's chock fill with references to Werner Herzog, Stanley Kubrick, Akira Kurosawa and other classic directors. The soundtrack is a perfect mix of the same old independent movie music and older classic movie soundtrack moments.

The cast of this film is perfect. Thomas Mann is fantastically dry but also a great physical comedian. RJ Cyler stands out as a phenomenal young actor who can play both serious and funny. Olivia Cooke's performance is just heart wrenching as Rachel and really shows her character's inner turmoil. Molly Shannon is macabrely funny as Rachel's mother who turns to alcohol in response to her child's bleak future. Both Connie Britton and Nick Offerman are fantastic as Greg's parents and Offerman's performance reminded me immensely of a friend of mine and thus I felt more comfortable with his character. Jon Bernthal rounds out the cast as the tattooed history teacher McCarthy.

Never before have I been on such an emotional roller coaster ride while watching a movie than with Me and Earl and The Dying Girl. It is a perfect movie for anyone of any age.

Boyhood

Never before has a narrative film felt as real as Richard Linklater's latest experimental masterpiece Boyhood.

Mason Evans Jr. (Ellar Coltrane) is a six year-old boy who lives with his older sister, Samantha (Lorelei Linklater) and his single mother, Olivia (Patricia Arquette). Olivia isn't earning enough to keep the family afloat, so she wants the family to move so that she can study at the University of Houston and earn a higher living. Mason is concerned that their dad, Mason Sr. (Ethan Hawke) won't be able to find them in their new location. What follows is an epic 12 year tale that documents the difficulty and the beauty of growing up.

Linklater took a creative risk with this film, shooting the cast over a 12 year period, but boy, did it ever pay off. The progression between the years is marked by subtle physical changes in the characters, the evolving landscape of their lives and recognisable elements of each year implanted into the story. The plot feels very free-form, which is what makes it so authentic. It's as if Linklater just set the characters free to live their lives whilst he sat watching with a pen and paper...only not in a creepy way. One of the things that makes it such a relatable film for me, is that I was actually 6 in 2002. I recognised points throughout that felt very familiar, that really put me in the shoes of Mason, and that was a truely amazing experience. Watching this film was like a trip down sentimental lane for me. 

Every member of the cast is fantastic. Ellar Coltrane as Mason really grows on you. You don't feel as if he's an actor on the screen but rather a kid who's just trying to figure things out, following his heart and trying to craft his own life philosophies. I feel like there's probably a bit of Linklater in him. Lorelei Linklater is also great as Samantha, and Patricia Arquette is painfully moving as Olivia, as she struggles to keep up whilst her life keeps taking nose-dives. Though Ethan Hawke as Mason Sr. was in many ways the heart of the film for me, managing to be hugely charismatic and compassionate despite his failings. 

Boyhood has been beautifully shot in 35mm by Lee Daniel and Shane F. Kelly, bringing both the unique visual look of film back to the cinema and allowing all the years worth of footage to line up in perfect continuity. In many ways, it's like a moving family picture album, providing a window into the lives of these people.

This film isn't just an experiment. It isn't just a milestone in cinema history. It's one of the most beautiful, touching stories that you will ever experience hands-down, keeping you engaged from beginning to end. You simply have to see this film. If this doesn't get nominated for Best Picture, I will riot. Can an individual technically riot?

 

Predestination

Don't let this movie deceive you into thinking that it is American, because it's not. Written and directed by the Spierig brothers (Daybreakers), shot in Melbourne and funded by Australian film corporations, the only American things about it are the setting and the fact that Ethan Hawke stars.

To tell the plot of this movie would be to ruin it for anyone who wishes to see it, but the film focuses on time travel and the paradoxical nature of the concept. That's all I can say without going into too much depth although I did find after thinking about this paradox for a long time it can seem to fall apart.

The performances in this movie are phenomenal. Ethan Hawke (who worked with the Spierigs on their last film) is very adept and natural in the film. Newcomer Sarah Snook is possibly better than him in this film. I wouldn't say that she carries the film where it's lacking, but her performance elevates the film to another level of amazing. Fellow Aussie Noah Taylor floats through the background with slight menace, but we are never quite sure of his intentions.

The Spierig brothers are fantastic at constructing sci-fi worlds where you forget about the science element and focus on what's going on with the characters or the deeper meaning behind the film. They also have a superb ability to make a beautiful film.

Verdict: This movie blew me away and I thought it was fantastic. Great performances from a well written script.

August: Osage County

Over the years, I have always wanted to see a classic film when it first arrived at cinemas, be it Pulp Fiction, Taxi Driver or Casablanca. With the release of August: Osage County, I feel as though I have had that opportunity. With a fantastic cast, extremely well written script and superb direction, I find it hard to fault this film.

It follows a family from Oklahoma who have come together for the first time in years because their father Beverly (Sam Shepard) has gone missing. Their mother, Violet (Meryl Streep), is an abrasive woman who is addicted to prescription medication. The three daughters, Barbara, Ivy and Karen (Julia Roberts, Julianne Nicholson and Juliette Lewis, respectively), each with their own problems, come together to try and comfort their mother.

For a film with a lot going on in terms of story and sub-plots, everything is presented quite clearly and this comes down to Tracy Letts' brilliant script (he also wrote the award-winning play on which the film is based). It's never hard to keep track of everyone's story and every plot element is resolved without being dismissed too quickly.

John Wells direction is also very evocative. He brings out stellar performances from his entire cast and shoots each scene in an extremely planned way. One of the major scenes in the film revolves around a family dinner and it is shot in such a way that the audience is gripped for the entire duration.

The two standout performances come from both Meryl Streep and Julia Roberts. Streep is amazingly witty, yet at the same time sharp-tounged, as the matriarch of the family. It is definitely a standout role for her in her recent career (even though her recent career has been full of those). Julia Roberts has come a long way from the roles that she played early on (both Runaway Bride and Pretty Woman were terrible in my book). She is excellent as a long suffering daughter who just wants to be done with her family.

Verdict: A fantastic family drama that is surprisingly funny. Stellar performances from both Streep and Roberts.

The Way, Way Back

I'm just going to get straight to the point, this is one of the best films I've ever seen. I'm going to have to go back and amend my top ten list. Written and directed by Academy Award winners Jim Rash and Nat Faxon (Best Adapted Screenplay for The Descendants, 2011), it is probably the best comedy that I have ever seen.

14-year-old Duncan (Liam James) is on summer holiday to his mother's boyfriend's, Trent (Steve Carell), beach house in a sleepy East Coast town. His mother, Pam (Toni Collette), is hoping that the two bond over the summer. Duncan soon becomes frustrated with Trent's cold attitude towards him and adventures to the nearby water park. He is offered a job by the owner, Owen (Sam Rockwell), and soon becomes the hero of the staff.

Duncan has a budding relationship with his neighbour, Susanna (AnnaSophia Robb), whilst his mother's relationship is slowly fading.

This film is an excellent example of character driven comedy. All the characters are fully formed and lead the story in their own ways. Both Faxon (Freeloaders) and Rash (Community) are master writers and although I haven't seen The Descendants I can see that they are great writers, as well as directors. They also play two of the water park's employees and prove that they can achieve a high level of excellence in all fields.

The cast of this movie is amazing. Liam James is a newcomer to main roles in film, but carries the role amazingly. He plays his character so amazingly and the development that he goes through is out in front and fantastic. I expect that we'll be seeing a lot more of him.

Steve Carell (Anchorman) plays against type and goes for a serious role this time. He is entirely believable as the douchebag boyfriend and from the opening scene onward you will hate him. And that's the mark of a fantastic actor.

AnnaSophia Robb (Soul Surfer) is incredible as the girl next door and does play the character in the stereotypical way. Likewise, Sam Rockwell (Moon) is uplifting as Owen and you can really see the connection that he has with Duncan.

I laughed the hardest at Allison Janney (the mum from Juno), who plays Susanna's mother. She is perpetually drunk and is constantly saying inappropriate things to her friends and even her own children, but I can see her as a good mother.

Verdict: A perfect movie. I saw it with a large, varied group and everyone loved it. I would highly recommend it to anyone who loves movies and it has a great uplifting message.

The Place Beyond The Pines

One of the first descriptions I read of this movie said that it was a multi-generational saga. And boy, you better believe it's a saga. But at no stage during the 158 minute running time did I want it to stop. Also, Ryan Gosling.

The Place Beyond The Pines has three consecutive stories that all affect each other and, more importantly, the characters within them. The first story follows Luke Glanton (Ryan Gosling), a stunt rider in a traveling carnival (so basically he's a carnie), who finds out that he has a son from a fling that he had with Romina (Eva Mendes). Because he doesn't want his son to turn out like he did (with an absent father), he promises to provide for him. But Romina has moved on, with a new man in her life, Kofi (Mahershala Ali). Luke still wants to provide for his son, so he starts to rob banks with the help of his friend, Robin (Ben Mendelsohn). This life soon takes a heavy toll on him.

The second story follows Avery Cross (Bradley Cooper), a young hero cop who becomes involved in police corruption. He turns to his father, a former judge, for advice. His father tells him that the best course of action would be to take down the corrupt officers, which include Pete DeLuca (Ray Liotta). He turns them into the district attorney, Bill Killcullen (Bruce Greenwood). He also has an infant son with his wife (Rose Byrne).

The third story picks up fifteen years later. Both Luke's son, Jason (Dane DeHaan), and Avery's son, AJ (Emory Cohen), become friends in high school. It is only after Jason becomes aware of Avery's involvement in his father's death that things start to go off the rails.

This movie is fantastic. This is Derek Cianfrance's second film after Blue Valentine (which also starred Gosling). He has crafted an immense flowing storyline, that whilst doesn't explore every single possibility, is still coherent and easy to watch.

The film also looks amazing. It is set in upstate New York and some of the scenery is amazing. So too is the set design in the small town in which it is set.

In my review for Gangster Squad earlier this year, I said that Ryan Gosling works best when he's outside the Hollywood system. Whilst he's not in this movie for too long, his character resonates and you can see a little bit of him in his son. Because he has worked with Cianfrance previously, you can see that relationship come through. At first I thought his character was going to be similar to the Driver, but not at all. You can see that all Luke wants is what's best for his son.

The character who we see the most in this movie is Avery Cross, so that meant just a little bit too much Bradley Cooper for me to handle. When he's in a movie like the Hangover where he has other actors as a buffer, I find him more tolerable.

The women in this movie are also very strong. Mendes' Romina still shows feelings toward Luke, but ultimately knows what's best for her son. We don't see a lot of Rose Byrne, but when we do, you know that she is a stronger person than her husband.

I always feel good when I see Australians in American film, so to see Ben Mendelsohn in this movie made me feel good. Here, he plays an extremely toned down version of the character he played in Animal Kingdom, a man who has lived the life but is happy to settle down. Ray Liotta on the other hand, plays the greediest person alive. His character knows that because this is a small town, he can get away with his corruption.

Finally, Dane DeHaan is someone to watch out for. I recognised him from Chronicle and I hear he will be playing Harry Osborn in the new Spiderman movie. In this role, he has to carry a lot of emotional weight on his shoulders and he pulls it off perfectly.

Verdict: I'm not afraid to say that this film might have to compete with Django for my favourite movie of the year, because it really deserves it. And, of course, Ryan Gosling.

Django Unchained

I remember on my first day of film school, one of my teachers asked me what I wanted to be in the
industry. When I replied that I wanted to be a director, he preceded to ask me who was my favourite. I said Tarantino, because like most young filmmakers my age, he was one of the people who inspired me to get into film. He then started to mock me for being inspired by a man who was incapable of being original and someone who stole scenes from other films. In my own naive way I thought this to be true, but as I saw more and more films by other directors I realised that everyone makes homages to their favourite films and filmmakers. But it isn't until now that I feel fully vindicated. Of course after my dressing down in front of the class, my newfound friends all told me they liked Tarantino as well. So, the reason for my vindication, you might ask, is Quentin Tarantino's Django Unchained. And that is because this movie is a movie that covers such a controversial, heart wrenching topic that affects the majority of the population of the US.

The movie follows the story of the titular Django (Jamie Foxx), who is sought out by the cunning bounty hunter Dr. King Schultz (Christoph Waltz) to help in discover the whereabouts of three of his targets, in return Django will earn his freedom. As they move on and Dr. Schultz trains Django as his protege and they embark on numerous bounties, we find out that Django's wife, Broomhilda (Kerry Washington), was sold to someone different to Django as punishment for running away. Dr. Schultz agrees to help Django find his bride. She is being held at Candyland and her master is the downright evil Calvin Candie (Leo DiCaprio), a francophile who doesn't speak a word of French. Dr. Schultz and Django concoct a master plan to get Broomhilda to safety and the film ends in classic Tarantino style (going into any further depth on the plot would just be unfair).

Tarantino has said that there is something for everyone to hate in this film and I have never heard a truer statement. Whether it be the stylised but gratuitous violence, the overuse of one of the worst racial slurs one can utter (although in the context of 1858, that overuse is understandable) or the graphic depiction of the punishment of slaves (which is the one that wrenched at me) there really is something for everyone to wince at.

Also there is not a single weak performance in this movie. Everyone is exemplary. Jamie Foxx should win an award, any award for his performance. Django is a sympathetic character who you hope everything comes good for. I haven't seen Christoph Waltz in anything since his depiction of sadistic SS Colonel Hans Landa in Tarantino's previous effort Inglorious Basterds. Dr. King Schultz couldn't be further away from Landa. Even though he is in effect a glorified assassin, he is still a friendly and affable character, that's of course if you're not one of his targets. The stunning Kerry Washington is unfathomably fantastic as Broomhilda. She is obviously loved a lot by Django and in return she loves him in equal amount. One of the scenes which disturbed me most involved her being released from a hotbox, which I can only imagine was a punishment for slaves in that time.

And then on the other side of the coin we have the heinously evil Calvin Candie and his manservant, Stephen, played respectively by Leo DiCaprio and Samuel L. Jackson. DiCaprio's performance as such a despicable character renders him so completely unnoticeable from any of his previous roles. There is one scene where he smashes a glass with his hand and suffers quite a bad cut, but the character keeps going. Sam Jackson is just as excellent as the devious Stephen, who orders the slaves around like he is their master. There are also a huge number of cameos by respected actors from around the globe, but they are too numerous to mention one by one.

Verdict: This film is an epic sprawling across the southern states. It is also classic Tarantino and probably the best film of his career. A must-see.