A Most Violent Year

This film has a most misleading title. There is very little violence and it doesn't take place over a year. But J.C. Chandor's latest film is a tense and enthralling film about a legitimate businessman who is trying to make a life in a business that is full of crooks.

The film is set in the industrial areas of New York in 1981. Abel Morales (Oscar Isaac) owns a heating oil company and is looking to expand his business so that he is able to ship the oil straight to his warehouses instead of buying them through a middleman. Lately his company has been plagued by the hijacking of his trucks and he thinks it is his competitors, all of whom run less than legitimate business. Despite urging from his wife Anna (Jessica Chastain), Abel refuses to retaliate through violent means. This is due to his company being investigated by Assistant District Attorney Lawrence (David Oyelowo).

Writer/director Chandor has truly proven himself with this film. His previous two films Margin Call (a film about the 24 hours leading up to the Global Financial Crisis) and All Is Lost (a film starring only Robert Redford, who plays a man lost at sea) were both critically acclaimed but didn't get wide recognition from the public due to their esoteric nature. A Most Violent Year follows in this ambiguity and as such might see the same scorn from general audiences. However, this film is masterfully written and delivers on so many levels. The film doesn't lay all its cards on the table on the table from the outset, instead choosing to reveal backstory as it becomes relevant. It becomes apparent that Abel does not hold any criminal ties, despite the vibe that he does. Instead the real power is held by his wife Anna, who you see holds more power than he does.

The film has some very tense scenes which culminate in extremely violent actions, but they come from people who you least expect and are intended upon the unexpected, which really throws you on the back foot. As soon as I realised that this wasn't a straightforward crime drama, I was kept guessing as to what would happen. The whole time you are hoping that Abel comes through the events using his legitimate means.

The film is superbly shot by cinematographer Bradford Young and really captures the feel and look of New York in 1981. The production design is also remarkable. Anna's dresses are all vintage Armani, the cars are all of the era with late 70s Lincolns and the skyline of New York is transformed to be identical of how it was in 81. Alex Ebert's score is rousing and punctuates the tension that is rippling throughout the film.

For me, Oscar Isaac seems to be getting better and better with each film I see him in. Here, you can see the immensely frustrated businessman, with pressure coming at him from all angles. His performance is perfectly revealing and shows Abel's weaknesses as the film progresses. Jessica Chastain's character is likewise revealing and slowly becomes a terrifying character as you discover what she is capable of. David Oyelowo is just a superb chameleon and is fantastic at wholly becoming each character he plays. Albert Brooks is amazing as Abel's lawyer and Elyes Gabel is fantastic as one of the drivers who is constantly getting hijacked.

J.C. Chandor's A Most Violent Year may not be as exciting for some people due to its misleading title, but it ends up being a scary and tense film about a man who just wants to take the most right path in life.

Harrison Ford to return for the Blade Runner sequel

Whether or not you are fan of the 1982 sci-fi classic Blade Runner (I personally don't see what all the fuss is about), you may be interested to know that Harrison Ford is reprising his role of Rick Deckard in a sequel.

The sequel will be set several decades after the original and is directed Denis Villeneuve, who also directed the Hugh Jackman/Jake Gyllenhaal collaboration Prisoners. Ridley Scott will be serving as executive producer on this film and has said that Ford is very excited about the script.

The Second Best Exotic Marigold Hotel

"Why die here, when you could die there!"

John Madden's 2012 film The Best Exotic Marigold Hotel proved to be a funny, surprisingly honest look at the foils of old age, with a strong cast of veteran British actors, and now the sequel, The Second Best Exotic Marigold Hotel has come along with a continuation of the story.

After the success of The Best Exotic Marigold Hotel, Sonny (Dev Patel) looks to expand with a second. Muriel (Maggie Smith) accompanies him to a meeting that could help him secure funding for the new premises, and they agree that she'll do the talking. Back at the hotel, Evelyn (Judi Dench) is considering a career opportunity, whilst Douglas (Bill Nighy) continues his attempts to woo her. After a late night out, Norman (Ronald Pickup) runs into some trouble when he thinks that he's accidentally put a hit out on his girlfriend Carol (Diana Hardcastle), and the hotel welcomes two new guests, Lavinia (Tamsin Grieg) and the mysterious Guy Chambers (Richard Gere).

Though not all goes to plan. Whilst Sonny is juggling the potential new deal, his upcoming wedding and the possibility that Guy is an inspector, an old acquaintance Kushal (Shazard Latif) purchases the new hotel. Then Douglas' ex, the insufferable Jean (Penelope Wilton) arrives.

The writing in the first film was better than this second outing, and whilst its numerous twisting narratives, love-triangles and vast array of Marigold residents are all entertaining, it's missing the volume of humour that was so delightful in the first. The additional characters are well-rounded, and I'm sure that those who find Richard Gere charming will enjoy him here, but they don't really bring anything new to the plot that wasn't already there, grappling with old age, the apparently relaxing, party nature of the Indian lifestyle, etc. What's entertaining with Second Best is seeing the original residents continue on their paths. It's a shame that Tom Wilkinson's character, Graham Dashwood was written out at the end of the first, as he was one of the more interesting members of the ensemble, but there's still plenty of talent, with legends Judi Dench and Maggie Smith the clear favourites, especially when they're squabbling at each other on-screen.

Much like the original, and another recent ensemble piece, Pride, also starring Bill Nighy, The Second Best Exotic Marigold Hotel finds its bearings with an incredibly strong cast and believable characters. Smith continues her role as the straight-to-the-point Muriel, whose dry sense of wit is the source of most of the jokes, with Patel's ambitious, yet pig-headed Sonny a close second. The relationship between Dench and Nighy's shy characters is, although clichéd, the most compelling part of the script, with Madge's love-triangle surprisingly dull. Penelope Wilton succeeds admirably at bringing back the unbelievably annoying Madge, and it was also nice to see Tamsin Greig (Fran from Black Books) in a more substantial film role. 

There's definitely a cinematic advantage to setting a film in India. With some astounding architecture, scenic views and a multitude of vast colours, The Second Best Exotic Marigold Hotel is just as vivid as the first, if not more. The cinematography is complimented by the colourful set design, culminating is an extravagant, if not totally over the top final act. Even if you were somehow bored with the characters, the visuals would get you through to the end.

The original film was a light-hearted but charming comedy that, whilst focused on an older audience, was broad enough in subject matter to be enjoyable for most ages. For the most-part, the same can be said for The Second Best Exotic Marigold Hotel. It doesn't trump the first film, but with such a strong cast, it's still good fun.

Jupiter Ascending

Imagine if you will a crossover between Star Wars and Game of Thrones. Congratulations, you have just thought of a much more intriguing and exciting movie than Jupiter Ascending. The Wachowskis have attempted to craft an engaging sci-fi story and, while I must admit the world the movie inhabits is interesting, they lack the writing ability to make a story that is engaging or one that makes any sense.

Jupiter Jones (Mila Kunis) is an illegal Russian immigrant who lives in Chicago working for her uncle in his cleaning business. In an attempt to make some money by selling her eggs, she is almost killed by aliens (the most stereotypic aliens you can think of), but is saved by Caine Wise (Channing Tatum), a human-dog hybrid, who reveals to Jupiter that Earth was genetically seeded by a family run corporation billions of years ago. Jupiter finds out that she is actually space royalty (the highest royalty one can hope for) and is thrust into the politics of the Abrasax family, which includes Balem (Eddie Redmayne), Kalique (Tuppence Middleton) and Titus (Douglas Booth), all of whom are fighting over the ownership of Earth.

This movie's plot is all over the place and that has to do with the amount of detail which is just brushed over. We have no idea about where the space people came from (they do identify as human) or how their civilisation works. It is mentioned that the Abrasax family is one of many that inhabit the universe, but we never get a glimpse at any of these. On the upside we do get an extended montage of "space bureaucracy" that is trying so hard to remind us of Terry Gilliam's Brazil. In the hands of a much better writer, this world would be an amazing setting for a series of sci-fi novels that would be able to go into the deep detail needed for all this plot.

There is also a glaring problem with Jupiter's backstory. In the prologue, we are told that Jupiter's father was the son of the British Ambassador to Russia and her mother and father live in quite a nice apartment. But in the scene that comes after her father's death, her mother is on a container ship, being smuggled into America. So many things wrong here. Why wouldn't the father-in-law take them in? Being an ambassador is quite a revered diplomatic position and he couldn't have ensured their safe passage anywhere in the world. Even if he disowned them, Jupiter's mother had enough money to be able to get to America. Sure the prologue takes place in Soviet Russia, but the way they were living exceeded the middle class of Russia at the time.

As for the acting of this film, I don't really know what to say. All the actors do an adequate job of portraying their one-dimensional characters. Jupiter had the potential to be a strong female protagonist, but just ends up being another damsel to be saved by Channing Tatum. Now his character is just as boring. We know nothing of the science behind the character, although they mention gene-splicing more times that I care to count. And Sean Bean. Don't even get me started on him. We all know he is good for one thing and one thing only; dying. And yet they don't let him live up to his potential. What a waste.

There is hope, however. Very recent Academy Award Winner Eddie Redmayne has made some incredible, if not strange, acting choices in his career. But none have been as genius as the choices made in this film. He looked at the poorly written Balem Abrasax and his minimal screen time and wondered how could he work his magic. Well, magic is the right word for it. In each scene, he mumbles through his lines, making you lean in to grasp the nuances of his delivery of each line, before shouting at all of us the crux of each scene, which nine out of ten times is "Bring her to me!" or a variant thereof.

I really wish this was a series of books because I would enjoyed it. Too late now. The only thing saving this from a zero score is Redmayne's strange, weird performance. The only character I want to see ever again is the elephant man Nesh. If you've seen it, you'll agree with me.

Trailers Week 33: 22/02/15

Far From the Madding Crowd

Get ready for some old school romance. Based on the novel by Thomas Hardy (not the cool one), it is about a working woman who suddenly becomes rich and is bombarded with suitors for both her land and affections. Starring Carey Mulligan, Michael Sheen, Tom Sturridge and Matthias Schoenaerts. Looks riveting.

Deep Web

This documentary sets out to tell the story of Ross Ulbricht who has been convicted of being Dread Pirate Roberts, the so-called founder of the online drug market place Silk Road.

Growing Up and Other Lies

This comedy is about four guys who decide to walk the entire length of Manhattan in a single day to celebrate their friend leaving New York. Along the way, they find that it is just to find an excuse to make him stay. Starring Josh Lawson, Adam Brody, Wyatt Cenac, Danny Jacobs and Amber Tamblyn.

My Life Directed by Nicolas Winding Refn

A documentary made by the wife of Nicolas Winding Refn during the making of Only God Forgives. Reminiscent of Hearts of Darkness. It also looks at the anxiety that Refn is a sufferer of. And who can forget that Ryan Gosling will be in it.

Backcountry

An idiot couple decide to go on a hike without a map or anyone knowing where they are. Of course things are going to go wrong. Starring Missy Peregrym, Eric Balfour and Nicholas Campbell.

The Cobbler

This latest Adam Sandler movie is about a shoe repairman who gains the ability to become whoever's shoes he puts on. Like with all Adam Sandler movies, let's hold our breath. Or not. However the saying goes. Also starring Method Man, Ellen Barkin and Steve Buscemi.

Infinitely Polar Bear

This comedy is the directorial debut of writer Maya Forbes and is about a family whose father is manic depressive and wants to rejoin the family. Starring Mark Ruffalo and Zoe Saldana. I must say I'm really enjoying the current streak of Mark Ruffalo, especially since he has such an amazing range.

Citizenfour

Whistleblowers occupy a strange part in minds of people. Even if what they are revealing to the public is important and affects every single one of us, they tend to be demonised by political forces who have had the whistle blown on them. With the exception of maybe Julian Assange, Edward Snowden is probably one of the most important whistleblowers of the 21st Century.

Citizenfour is a documentary made by filmmaker Laura Poitras, who had previously made films about the War in Iraq and the aftermath of 9/11. Poitras originally set out to make a film about the intelligence community of the United States, but is contacted by an anonymous person who calls himself Citizenfour through encrypted emails. He says that he will be in Hong Kong for eight days and he has something that he wants to tell her and Guardian journalist Glenn Greenwald (who he had tried to contact unsuccessfully). When they get to Hong Kong, they discover that Citizenfour is an NSA (National Security Agency) contractor named Edward Snowden, who is about to blow the whistle on the US government basically spying on the rest of the world.

The style of this documentary is really engaging. The film doesn't have a clear structure from the beginning, usually you know where a documentary is going because the filmmaker lays it out for you, almost as though the story is told retroactively, but you find out things as Poitras discovers them too. The film also has no narration, which can be a little disconcerting, but we are given information through the emails shared by Poitras and Snowden.

The main crux of the film is the eight days spent in Hong Kong with Snowden and it's here that you learn so much about the man, despite him saying that he doesn't want to share any of his private life in order to protect his loved ones. He stays composed throughout, but you can tell he is nervous about the consequences of his actions. This does extend to both Poitras and Greenwald, who don't return to the US after the story is released.

There are no proper interviews that you would find in a regular doco. Poitras points the camera at both Snowden and his interviewer, either Greenwald or fellow Guardian journalist Ewen MacAskill. This places you in the shoes of Poitras and makes you feel as though as you are in the room as these meetings take place. When Wikileaks founder Julian Assange features in the film, you'd expect a long interview with him about how great Snowden is, instead we get a minute of him arranging a private jet for Snowden to take him from Moscow Airport (where he was residing at the time) to Ecuador or Venezuela (who will give him refugee status).

Citizenfour is a remarkable documentary that really shows how we are being monitored, but also how we are being lied to by the governments who are supposed to be protecting us. I wish I could see the unedited footage of Snowden during the time he was in Hong Kong and all the information that didn't make it to the film.

Rosewater

In 2009, satirical news show The Daily Show conducted an interview with film-maker and journalist Maziar Bahari. Not long afterwards, Bahari was arrested for his connections with the west, the interview serving as just one of the pieces of evidence against him. After meeting with Bahari after his release, Daily Show host Jon Stewart was motivated to translate his story into a film, which became Rosewater.

During the 2009 Iranian presidential election, Maziar Bahari (Gael García Bernal) sees the lack of confidence in the people for current president Mahmoud Ahmadinejad. He's interviewed by comedian Jason Jones (Himself) from The Daily Show in a harmless enough satirical interview, and after Ahmadinejad wins the election, Bahari films the protests that follow. Soon afterwards, Bahari is arrested by a man who smells distinctly of rosewater (Kim Bodnia). He is accused of communicating with American spies, and is incarcerated for 118 days in squalid conditions and under interrogation. 

The story behind Stewart's directorial début is clearly very close to him. Bahari's ordeal is presented through an insightful, and often witty screenplay, but Stewart shies away from too many dark themes. Whether these are required or not, Rosewater certainly feels a bit too 'safe' for a film of it's subject matter. It's at times difficult to empathise with Bahari, not because of cultural-differences or personality conflicts (Quite the opposite. He's portrayed as a very gentle, caring person), but because some of the film-making choices simply dislocate the audience from the character. The often shaky camera work and frequent fast cuts simply don't allow anything to linger on the screen long enough for much of an emotional response. Although I must say, all of these points were not as much of an issue in the second half of the film, perhaps suggesting that the unique tone of Rosewater takes some getting used to.

As I mentioned before, much of the film seems to have been shot handheld, which certainly gives it the stylistic feel of a freely moving journalist. But whilst it's never particularly noticeable or distracting, it became a bit bland after a while. Other parts of the film are shot from low angles, particularly the interrogation scenes, but this too becomes banal. With a tight budget and filming on-location, some of this is understandable but I feel they could have made some more creative filmic choices. On the flip side of things, there are some truly beautiful shots here, such as the introductory montage and many of the establishing shots. The influence of the news and social media on Bahari's outcome is also certainly not understated, with some very effective graphics and montages that add an additional layer to the film. 

Kim Bodnia, whom I first encountered in the extremely well-made Danish/Swedish crime series Bron/Broen (or The Bridge) has the ability to convey the precise tone of each scene with each of his brooding looks. He's one of those underused actors that certainly deserves more attention. I wasn't so sure about Bernal as Bahari at the start of the film, but like the film itself, he improved dramatically over the course of the movie. Shohreh Aghdashloo is also on-point with her poignant portrayal of Bahari's mother's suffering, and I must say that Jason Jones is incredibly accurate in his role as Jason Jones. As for the rest of the cast, well I can't really say anything positive so I shan't say anything at all.

Rosewater is a damn fine attempt at a first film from Stewart. His personal connection with the story and Bahari himself certainly allows him to paint an emotionally coherent portrait of the man and his suffering. But on the other-hand, it lacks the subtle approach that we have come to expect from human-interest films, whilst not really pushing any creative boundaries. It straddles the line between "safe" and innovative film-making.