Manchester by the Sea

The ultimate challenge for a filmmaker is creating a rich enough atmosphere to connect audiences with the deeper themes and emotions they are presenting on screen. From sorrow and loss to heart and love, Manchester by the Sea delves deeply into the story of a man who’s lost his way; his sense of self.  Not a single opportunity is lost in creating a rich emotional story for all audiences to get absorbed into.

Lee Chandler (Casey Affleck) is a lonesome yet irritable man living a reserved life in Boston. He seems content living out his days completing odd jobs for cash and moping his way about the city, until news of his brother’s (Kyle Chandler) passing summons him back to his hometown to take care of his nephew Patrick (Lucas Hedges). This return to his past fully unearths Lee’s demons; an emotional tragedy linked to his past he has clearly been trying to forget. With Lee’s past tragedy showing itself once again, he is tested as he is forced to confront all he has tried to run away from, with relations such as his ex-wife Randi (Michelle Williams) being shoved back into his life.

The dynamics explored between Lee and various other characters are fantastic. A man who has completely shut himself off emotionally, forced to face the realities he has been running from for so long; no doubt a big ask. Affleck nails this range perfectly, while the severity of the situation is contrasted with vibrant flashbacks to Lee’s former life, making his emotional unavailability even more jarring. Surprisingly tasked with the job of taking care of his nephew, Lee is distant and unsupportive to a teenager who doesn’t want to admit he is grieving. Tense freak-outs line their dynamic as grief displays itself in strange ways, and Affleck’s range is tested as Lee looks to battle fresh grief and old sorrow at the same time.

As a whole, this emotional atmosphere is created and maintained well. A blanket of calm seems to lay over a catastrophe of pain and loss in Lee’s life, and the audience can really feel the tension. As the severity of Lee’s personal situation begins to reveal itself, this aura increases in intensity, and by the end of the film you’d find yourself completely engaged. Affleck’s acting ability headlines the credits for this success, but merit must be given to writer/director Kenneth Lonergan who no doubt worked tirelessly and meticulously to create this rich environment on screen.

With The Oscars fast approaching, Manchester by the Sea has definitely thrown itself in the running for a plethora of awards. The rich, emotional acting across the board has not gone unnoticed, as the audience really gets pulled into the story of sorrow and grief on display. Exploring the entire range of human emotion, Manchester by the Sea is a great flick, as it easily draws in audiences and leaves them wanting more from the emotionally turbulent story.

The Finest Hours

I’ve talked before about my love-hate relationship with disaster movies. Why just last year I thoroughly enjoyed Everest, (and seemed to be the only one) whilst other more bombastic films like San Andreas prove to be the steaming-turds they make themselves out to be. It’s rather fitting that most disaster movies by their very nature seem to teeter on the edge of failure, with many falling deep into the abyss of characterless, CGI-driven ludicrousy. For this very reason it’s all the more rewarding to sift through the crap and find those movies that actually bring something to the genre. Disney’s The Finest Hours is not one of those movies 

In 1952 off the New England coastline, a north-easterly shears the oil tanker SS Pendleton in half. The coast guard are dealing with another tanker in a similar position and can’t afford to send all their men to it. Bernard Webber (Chris Pine) is selected to pilot a lifeboat to the Pendleton, a lifeboat which is only designed to hold 12 people, but with 32 crewmen to save. 

It’s clear that the best disaster films hold a close relation to adventure films, whether it be Everest, Twister or All is Lost, there’s something about pioneers/explorers and their tragic destinies that appeal, and like a lot of films it helps if the story is grounded with realism and not Mayan prophecies. The Finest Hours bases itself off the true story of the SS Pendleton, and right off the bat it would be wise to read up before you enter the cinema, because the impenetrable New England accents combined with the gale-force sound effects make it almost impossible to understand what is going on most of the time. Directed by Craig Gillespie of Disney’s Million Dollar Arm, an equally unambitious movie, The Finest Hours seems content with letting melodrama and routine plot drive the movie, and as such it became increasingly difficult to invest in the characters or the events. 

Chris Pine gives a flat uninteresting performance equaled by many of the supporting cast, and honestly the only noteworthy performance was Casey Affleck. There’s an air of the old-fashioned both in the setting and style of this film and thankfully the CGI manages to restrain itself in the big set pieces, although by the time we get to these, any sense of tension is well and truly gone. I do respect the decision to take the time to try and build some of the characters, but as it focuses on two parties - those on the wrecked ship and the coastguard - it still never really gives enough time to any of them whilst still managing to slow the film down and move away from the action. There’s also a love story which feels very much tacked on. 

There’s not a lot more to say about The Finest Hours. Despite, or perhaps due to a surprisingly reserved style of filmmaking it fails to deliver on a story that had potential. Maybe that’s why it’s ended up in the early ‘dumping ground’ period of the year.

Triple 9

Aussie director John Hillcoat is no stranger to making brutally violent films. Triple 9 is no exception to this rule, showing the brutal lengths that people will go to when their backs are against the wall. While it is an enjoyable heist movie, it can at times seem a bit predictable and some of the character motivations aren't even evident.

In Atlanta, a small crew of criminals led by Michael Atwood (Chiwetel Ejiofor) are made to pull a heist on a bank by Russian mobster Irina Vlaslov (Kate Winslet). Among the crew are two corrupt cops, Marcus Belmont (Anthony Mackie) and Franco Rodriguez (Clifton Collins Jr), as well as brothers Russell (Norman Reedus) and Gabe (Aaron Paul). Despite the fact that they pulled off the heist without a hitch, the crew are forced to pull another with even higher stakes. To help avoid police attention, they come up with a scheme to murder a police officer, which they know the cops will have a higher priority to get to. They decide upon Chris (Casey Affleck), Marcus' new partner. Meanwhile, Chris' uncle Jeffrey (Woody Harrelson) is investigating the crew.

Triple 9 ends up being a very generic heist movie. It does have some surprises, but it turns out to be very predictable. As you watch it, you can pick out who will turn on who and which characters will end up dying. I suppose that that is one thing where John Hillcoat makes a tiny bit of a difference. Life in this movie is cheap, people die when you think for sure that they are the main character. Maybe that stems from packing the movie with so many big name actors. I felt as though they were all important because of the star power that they brought to the movie. Turns out, they aren't.

Another problem that arises from stacking a movie like this with stars is that no one stands out in any way. Actors like Teresa Palmer, Gal Gadot, Norman Reedus and Michael K. Williams were only cast so that their names could be put on the poster so that people would go see the film. Casey Affleck, who ends up becoming the main character only appears after twenty minutes into the action. Clifton Collins Jr. is the only actor to give a truly good performance as the surprising second villain only due to the fact that he has no star power and has to work to be noticed. Kate Winslet is also good, but only when you compare how different her role here compared to Rose in Titanic is.

All in all Triple 9 is a movie that you're going to watch for the action over the story. It has surprisingly little heart. If anything you're not going to ever want to go to Atlanta.

Interstellar

I have to hand it to Christopher Nolan, time and time again he takes on diverse and interesting projects and makes them his own, especially when scripting with his brother, Jonathan. Their latest endeavour, Interstellar sees the siblings flex their creative muscles, and certainly stretches far beyond the reach of its trailer.

In a grim future, where blight and famine have pushed humanity to the breaking point, Cooper (Matthew McConaughey) is a former pilot and engineer that now works as a corn-farmer, one of the few crops that still grows. His son, Tom (Timothée Chalamet) has been assigned a future in farming and his daughter, Murph (Mackenzie Foy) is adventurous, yet stubborn. After investigating an anomaly which provides a message, that Cooper interprets as co-ordinates, he and Murph go to investigate.

What they discover is a secret project run by what is left of NASA, led by Cooper's old mentor Dr. Brand (Michael Caine). They aim to send a crew through a wormhole near Saturn, in the hopes of discovering an inhabitable planet that would serve as a new home for the human race, as their old one is slowly dying. Cooper joins the crew - against the wishes of Murph - along with Brand's daughter, Amelia (Anne Hathaway), Romilly (David Gyasi) and Doyle (Wes Bentley). The mission will be perilous and with no knowledge when and if they will return, Cooper hopes that he will both be able to save his family, as well as return to see them again.

As with most of Nolan's films, Interstellar will likely require multiple viewings to fully comprehend. It explores, not just the wonder of space travel, but the perils of venturing into the ominous darkness of the unknown. I found that the whole post-apocalyptic scenario where our future as a civilisation rests somewhere in the stars, made for a truly thought-provoking and surprisingly emotional narrative. Yes, some of the intimacy is lost in the vastness of the cosmos, but the noble sacrifices of the crew can be incredibly poignant, especially during the low times, when they just want to go home. Some will find Interstellar quite fantastical, but in many ways, that's what lies at the heart of a great Sci-Fi film, and here with the familiar thematic use of time weaving into the complex and generally intriguing story, it proves a much more compelling tale than Gravity, which I personally found a bit average. At nearly three hours though, it could possibly have done without some scenes, especially at the beginning, though it manages to cover a spectacular amount of material in the time that its given.

 Matthew McConaughey is undoubtedly a talented actor, yet after his string of appearances around the last awards season, on top of True Detective, I walked into this fully expecting to be sick of him by now. Though this was definitely not the case. He brings the vehemence and humanity to the screen that this role really requires. Both Hathaway and Jessica Chastain of Zero Dark Thirty fame, also provide very strong performances, but for me it was Mackenzie Foy who really shined and showed incredible promise for a young actor. All the main roles are certainly helped along by a strong supporting cast, including Casey Affleck, John Lithgow, Matt Damon, and Michael Caine (It wouldn't be a Christopher Nolan film without Michael Caine am I right?).

I'm sorry to constantly rattle on about 2001: A Space Odyssey on this blog, but Nolan has undeniably gained influence from the classic here. From the simplistic yet hyper-real visuals, the eerie moments of silence, uses of classical music, even down to the design of some of the spaceships. Hoyte van Hoytema (Tinker Tailor Soldier Spy, Her) was cinematographer here, and he has certainly done a stellar job, thanks in part to Nolan's love affair with IMAX cameras. The special effects are low-key but nothing short of stunning, and during the tense scenes, the outstanding sound design had me on the edge of my seat. Also the robots that support the crew are simultaneously one of the coolest and wackiest designs I've yet encountered in a Sci-Fi film.

Interstellar is likely to divide audiences at the cinema, just as most thought-provoking films do. Indeed I feel its difficult to properly judge it with just one viewing. But despite some plot issues, Nolan has once again created a captivating piece that is full of action, adventure and emotion. It's a visceral experience.

Robin Williams Tribute Month: Good Will Hunting (1998)

We couldn't do a Robin Williams month and not mention Good Will Hunting, the role which won him his only Academy Award (Best Supporting Actor). In addition to his role, the movie is pretty solid, with amazing direction from Gus Van Sant.

Will Hunting (Matt Damon) is a young mathematical genius with a photographic memory who works simply as a janitor at MIT. He mostly hangs out with his friends Chuckie (Ben Affleck) and Morgan (Casey Affleck) and they mostly spend time drinking and getting into fights. One day Will solves a difficult maths problem set by Professor Gerry Lambeau (Stellan Skarsgård). He eventually gets caught by Lambeau, who sees potential in Will.

But Will's troubled past gets in his way and one of his conditions of working with Lambeau is that he goes and sees a psychiatrist. After a slew of failed attempts, Lambeau contacts Sean Maguire (Williams), his old college roommate and asks him for help.

While this story of troubled kid tries to make something of himself is nothing new, Good Will Hunting is still a great movie. A lot of this comes down to the amazing performances and direction. Of course the setting of South Boston is also a rousing feature (our friend Mark Wahlberg tells of his passion for Southie here).

Van Sant has always been an amazing director and I always look forward to his movies. He has chosen a slightly overexposed look for this movie, but at the same time focuses on warmer colours for most of the scenes.

But I should really be talking about Williams performance. Although we don't get introduced to him until halfway through the film, Williams dominates every scene he is in from that point. Although he does have his funny moments, most of the time he is sombre and reflective. He is a great mentor to Will and really tries to open him up to realising that it's okay to be vulnerable at times.

Both Matt Damon and Ben Affleck are also great in the film (although they did write these roles for themselves). While they didn't win any awards for acting, they won Best Original Screenplay. Skarsgård is great as the gruff Gerry Lambeau and Minnie Driver adds some touching moments to this all-boy movie.

Verdict: This movie is a must-see if only for Williams award-winning performance.