Lion

Up and coming directors can only hope for a powerful story to tell through their directorial debut, but Garth Davis was one of those lucky few, transposing Saroo Brierley’s incredible story A Long Way Home into his first film, Lion.

Saroo (Sunny Pawar) is a young but precocious and adventurous child who looks up to his older brother Guddu (Abhisek Bharate). Saroo wants to work the night shifts with Guddu so he can contribute more to his family, and Guddu reluctantly lets him come along. By the time they’ve reached the train station, Saroo is exhausted and falling asleep. Guddu asks him to wait whilst he tries to find work, but Guddu doesn’t return. 

Searching the nearby trains for his brother, Saroo falls asleep again and wakes up on the travelling, empty train, many miles from wherever his home is. Lost in a faraway city and unable to point the authorities to his local town, Saroo is soon adopted by an Australian couple, Sue (Nicole Kidman) and John (David Wenham). Twenty years later Saroo (Dev Patel) wants to find his family, and one of his University friends tells him about a new program, Google Earth, that might be able to help him in his search.

The biographical films that soar during Oscars season are a bit hit and miss, often too concerned with glorifying a historical personality than telling a unique, incredible story, but that’s certainly not the case with Lion. Told in a linear style - not regularly seen in the modern era of flashback obsessives - we pick up Saroo’s story just before his separation from his family and his devastating experience as a homeless sojourner. The human cost of overpopulation and a very different parental culture becomes evident when he has to spend the night sleeping with other displaced children on sheets of cardboard in the Calcutta train station and narrowly avoids abduction. A sobering passage of the film - underscored by the message of Lion’s final titled card, over 80,000 children go missing in India each year - This first half of Lion is defined by the tragic, Dickensian performance of young Sunny Pawar. Truly if ever there was a child actor deserving of an Academy Award nomination, Sunny is the one.

Saroo’s troubles take a different turn when he’s adopted by a loving Australian couple who he meets in Hobart. Before long we’ve jumped forward twenty years and the now grown-up Saroo finds himself opening up old wounds as he begins his search for his family. The film slows in pace but it’s certainly not the dramatic bottleneck that some critics claim. In many ways the second half of Lion is just as painfully engaging as the first, and if anything the conclusion could have done with more time and space to complete the story without the hint of emotional overreach that somewhat emerges. Otherwise, Lion manages its pace and linear technique in a thorough and satisfying way.

Whilst it’s difficult to meet the challenge that Pawar’s performance sets in the first half, Dev Patel still delivers what might be his best performance to date, and Kidman, who has struggled to match the quality of some of her earlier Roles in recent years, puts all of that behind her with a very strong portrayal as the patiently nurturing Sue. Rooney Mara plays Saroo’s gentle and tolerant girlfriend, Lucy, and continues to firmly cement her position as an awards season regular, whilst David Wenham does what he can with his relatively little screen time. Apart from a slightly jarring wrap-up song from Sia, the gentle and contemplative soundtrack works with the often stunning visuals to bring all of these elements together into a film worthy of its story and of the international audience attention its receiving. 

Lion could have so easily fallen into the bottomless pit of cliched Oscar-bait that we have to suffer through each year, but its writing is so engaging, its performances so enticing, and it's directing so delicate that it certainly does justice to Saroo's riveting odyssey.

Carol

“Just when you think you can’t get any worse, you run out of cigarettes” 

Todd Haynes has previously demonstrated his expertise with character dramas in Far from Heaven and his miniseries Mildred Pierce. Now he reunites with his I’m Not There star, Cate Blanchett in Carol, an adaptation of Patricia Highsmith’s novel of the same name. 

Christmas in the early 1950s. Therese Belivet (Rooney Mara), an amateur photographer, is working in Frankenberg’s department store, calm amongst the chaos of the seasonal period. Across the room, an elegant older woman, Carol (Cate Blanchett) admires a model train set. The two get chatting and she orders the trainset. After Carol ‘accidentally’ leaves her gloves behind in the store, Therese mails them off. So begins a series of rendezvous between these two women, stuck in their individual unsatisfying relationships and each looking for something more intimate. 

This really is a slow-burn character drama, which might not be to everybody’s tastes. It takes its time to build nuanced characters, although the interactions between Carol and Therese escalate into a relationship a little too quickly to be entirely believable. Phyllis Nagy’s screenplay does an excellent job of exploring sexuality beyond the confines of the labels. It’s difficult to tell exactly where the two leads each sit on the broad spectrum of sexual identity - given their unfulfilled yet notable liaisons with men - but the definitions get swept aside to focus on a multi-layered relationship between two women that aren’t sure where they’re going with their lives. 

Set in the 1950s, Carol manages to be subtle in its portrayal of the era, by which I mean it doesn’t overdo it to the point of caricature as some recent period pieces have. The film was shot on 16mm film by cinematographer Edward Lachman, and the soft, warm image with unexpectedly dull colours mirrors the tone of the film. At times Carol even takes on aspects of film noir, an effective style for both the setting and the duplicitous aspects of the story. 

Blanchett is, as usual fantastic. Carol’s dry-wit and cynicism act as a shield to the fragility that we as

an audience see in her. Her difficult husband and divorce proceedings are only part of the problem as she seems to be hiding more about herself than at first glance, which turns out to be her lack of satisfaction in life. All of this comes across with subtlety and ease thanks to Blanchett’s devoted understanding of the art. 

Rooney Mara is just as good; Therese in a similar yet different way to Carol, has a vulnerable streak to her and has an innocence that comes out through things like her photography. Although it’s more of an aside, Therese’s photographic hobby, in the way that it’s developed (pun not intended) felt like a nod to the naval-gazing characters of French new wave films. Carol could have so easily become a melodrama, but - aside from one scene - it manages to stay grounded thanks largely to the two lead performances. 

Todd Haynes has developed another detailed character drama with Carol, thanks to a great screenplay and brilliant performances. However as I said it is very much a slow-burn film and for quite a while I lost focus. I feel that I’ll need to see this again to really pick up on the details.

Pan

Apart from the 1953 Disney animation, I have never seen a movie about the actual story of Peter Pan. I've seen a biopic about the writing of the play (Finding Neverland), a sequel where Peter is a grown up Robin Williams (Hook) and now a prequel of how Peter got to Neverland in Pan.

Peter (Levi Miller) lives in an orphanage in WW2 London. He dreams of one day being reunited with his mother, whom left him on the doorstop of the orphanage twelve years earlier. After investigating the head nun, Peter discovers that the young orphans are being sold to pirates who come and take them away on flying ships. Peter gets himself captured and whisked away to Neverland, which is led by the evil pirate Blackbeard (Hugh Jackman), who uses the captured boys to mine for fairy dust. It is in this mine that Peter learns that he is the chosen one of a prophecy to kill Blackbeard and free the fairies that have sealed themselves in their world. After escaping with James Hook (Garrett Hedlund), he meets with native princess Tiger Lily (Rooney Mara) to fulfill his part in the prophecy.

I must admit that I do get a certain level of enjoyment from origin stories like this one, but only when they have enough of a connection to the original source material so that there is a reminder why we went to see it in the first place. And Pan has enough of those to get by. Quiet references to Lost Boys, Tinkerbell, the crocodile and James Hook's weapon of choice being a, well, hook do a good job to make older audiences who have grown up with these characters feel a little warm inside. I also get the feeling as though the film was heavily influenced by 1991's Hook, especially with Hugh Jackman's over the top portrayal of Blackbeard rather closely mirroring that of Dustin Hoffman's Captain Hook, even down to the first time both characters appear on screen.

However, references to past works don't make a fully succinct or satisfying film. This is an incredibly action packed film and there were times when I felt like the movie needed to slow down and take a breather just so that there wasn't a flurry of activity at all times. There were two moments as well which come across as just confusing and anachronistic. They involve all of the miners chanting both "Smells Like Teen Spirit" by Nirvana and "Blitzkrieg Bop" by The Ramones. When you figure out what these songs are, it throws you off completely. This film is also obviously intended to be the first step in a franchise as none of the major character arcs are completed to where they should be. I think if this was made as a stand alone movie it would be a lot better than it is.

Young Aussie Levi Miller leads the cast quite well, especially for a movie of this size. There were parts where I found his accent to be a tiny bit annoying. Garrett Hedlund gives a truly kooky, but enjoyable performance as Hook and this is complemented well by Adeel Akhtar's hilarious performance as his future sidekick Smee. Rooney Mara handles the action sequences well but ultimately I felt as though her character was rather flat. Jackman's insanely upbeat performance is probably the best part of the film although there are moments when he can get rather dark. Supporting roles by Amanda Seyfried and Cara Delvingne round out the cast.

Pan is an enjoyable enough movie with a storyline that is engaging enough that isn't too simple to get bored. Because it is a kids movie I am of course saying that it will be enjoyable for them. If you are over the age of 15, you will most likely be seeing it for the attractive stars of the film (Hedlund and Mara) or just because of Jackman's really bizarre and against type performance.

Her

I find Spike Jonze to be an amazing conundrum. He can go from directing Academy award winning films (Adaptation) to hanging out with the guys from Jackass (in the movies, he is the old naked lady), which he is one of the creators. Despite the fact that he confuses me, his work has never failed to entertain me. Her is another example of this.

Theodore Twombly (Joaquin Phoenix) works as a surrogate letter writer, who is picking up his life after splitting from his wife Catherine (Rooney Mara). He decides to purchase a new operating system (a personal assistant in the form of an artificial intelligence). Once he starts it up, it takes on the persona of Samantha (the voice of Scarlett Johansson). Samantha and Theodore begin a relationship, that he is reluctant to tell his friends about, especially his best friend Amy (Amy Adams).

The film takes a very interesting look at the state of modern relationships. Theodore goes on dates with girls and realises that he doesn't want anything serious and is just after sex. Most guys these days are after just that. Once he begins his relationship with Samantha, things become increasingly complicated.

The other theme that is touched on is the idea of the singularity. The singularity is the point in time in which artificial intelligence surpasses that of human intelligence. But rather than portray it as a scary concept like in Terminator, it is seen as a rather peaceful passing.

Indeed, the near future that is shown is not a flashy future with obvious technology changes, but is subtle and efficient. The most glaringly obvious change is the fashion, with ridiculously high-waisted pants and high collared shirts.

Joaquin Phoenix plays Theodore convincingly enough that you believe his relationship with Samantha is real. Also, Scarlett Johansson is amazing as Samantha, playing her with a subtlety that doesn't draw attention to her performance. Amy Adams is fantastic as Theodore's closest friend.

Verdict: Jonze crafts an amazing story about love in a future that is believable.