Joy

David O. Russell is an interesting director with on-and-off successes, and has in particular been responsible for a lot of Oscars buzz over the past few years. So it comes as no surprise that his latest film, Joy has already worked its way onto prediction lists. 

Joy Mangano (Jennifer Lawrence) is a divorced mother whose ex-husband, Tony (Édgar Ramírez) lives in the basement, and whose mother, Terry (Virginia Madsen) spends the entirety of her day sitting in bed watching soap operas. Joy’s father, Rudy (Robert De Niro) owns a local mechanic shop, and whilst he’s been key in her inventive fruition over the years, he’s less than helpful when he moves back in with the rest of them. To call this family dysfunctional is an understatement. Despite juggling all these responsibilities, Joy comes up with a self-wringing mop invention and we follow her as she tries to get it funded and sold in a less-than-hospitable marketplace. 

Russell’s past films I Heart Huckabees and Silver Linings Playbook are personal favourites of mine, although I thought that on many levels American Hustle just didn’t work. So I had a decent idea what to hope for with Joy, namely quirkiness and character development before style. Unfortunately Joy still leans a little too heavily on the style for my liking, but more on that later. As the narrator states, this is a story about a ‘strong woman’, although if the aim is to avoid all the patriarchal bullsh*t that plagues so many female characters, perhaps it’s more constructive to consider Joy as an independent woman. Joy supports herself and all those around her, no matter how much they try to undermine her. When she invents the mop and looks for funding, she’s ultimately doing it to support her family. It’s an empowering story that is unfortunately wrapped in an unbelievable world and unlikely background characters. The latter of which is probably the film’s biggest problem. 

Joy is the centre of this film and proves to be another dominating performance from Lawrence; she’s caring and ambitious with enough vulnerability to stay interesting, however the people around her come off as caricatures. It feels like they’re placed in the story solely to pull Joy down and hence provide motivation for her to spring back from. Because of this, they all kinda clump together in an unbearable mass of failed character development. Robert De Niro is good, but Rudy doesn’t really emanate away from what could be considered a stock De Niro performance. Joy’s mother is a loner, hence becomes the butt of many jokes, her sister is just downright annoying and Cooper’s Neil isn’t nearly as fleshed out as he could have been. I also would have liked to see Mimi - probably the next most important character after Joy - become a bit more than just a mentor with a couple cheap lines, and whilst Trudy is a great character, she could have become more worthy of an Isabella Rossellini performance. Tony is one of the few characters you can actually connect with, a sincere support for Joy that doesn’t just turn into a ‘let-the-man-handle-this’ situation, but again he doesn’t really appear often enough to develop as a character. 

My other major issue with Joy is the sense that it’s been constructed as style for the sake of style. Through the costuming and set-design, Russell tries to create this pastiche tribute to the late 80s/early 90s, and whilst it’s not nearly as obnoxious as with American Hustle, it still feels little more than a hollow facade. Although I do think they did a great job recreating the boom of television shopping, helped along by a great sense of humour; and I must say Joy is a fantastically funny movie, which does help to alleviate the issues to some degree. I think the comparison to soap operas is an interesting move - although it possibly adds to the character development problems - and the cinematography is, at times quite beautiful. However I just wish they’d kept the camera still a bit more often! This film is full of ridiculous pans, dolly moves and jibs that do nothing other than draw attention to themselves and honestly spoilt some moments for me because they were just so unnecessary. 

Joy is a funny, at times touching, and ultimately very driven movie. Joy Mangano’s story is worth being told and Jennifer Lawrence nails the role. It’s a shame that it falters due to some directorial decisions and poor character considerations because this had the potential to be one of the best films of the year.

Youth

Paolo Sorrentino's third film Youth ruminates on the qualities of a long life lived, much like his last film The Great Beauty. In fact, you could say that this film is just a straight remake for an English language audience. Despite this, Sorrentino uses a new cast of actors in a new location deftly enough to make an extremely memorable film.

Retired composer Fred Ballinger (Michael Caine) is taking a vacation in the Swiss Alps with his old friend and director Mick Boyle (Harvey Keitel), who is there with a team of writers trying to work on his next film. Also staying at the hotel is young actor Jimmy Tree (Paul Dano) who is getting ready for his next role and famous former football star the South American (Roy Serrano), a thinly veiled allusion to Diego Maradona. During his vacation, Fred is forced to reflect on his life, fame and regret over not being a good father to his daughter Lena (Rachel Weisz).

Once again, Sorrentino is able to create characters who have a lot of depth that don't leave me wanting to know more. It could be anyone from Fred to the masseuse (Luna Zimic Mijovic) and I have all I need about them, sometimes through as little exposition as possible. What he does like to do though is have heavy monologue and dialogue scenes that come out of nowhere. The fantastic dialogues between Fred and Queen Elizabeth's emissary (Alex Macqueen) and a show stopping sequence between Mick and actress Brenda Morel (Jane Fonda) are amazingly indulgent, but it is an emotional monologue from Rachel Weisz early in the film that caught my attention and reaffirmed for me why she is such a superb actor.

Sorrentino's regular cinematographer Luca Bigazzi returns for a third time and does just a spectacular job making the film beautiful. Where The Great Beauty used the streetscapes of Rome as it setting, the breathtaking vistas of the Swiss Alps are the focus and Bigazzi does an amazing job at showing off these views. Another thing I love about Sorrentino's films are the cutaways he uses between sequences. This time they focused largely on the nightly entertainment for the guests, the bizarre habits of some of the residents and even the scratchy violin practice of a young boy.

Ultimately though, this film is a pretty solid reimagining of The Great Beauty, but made more accessible for an English-speaking audience. This isn't a bad thing however, although I have a feeling a lot of people might see this film and think it is a mash-up of The Grand Budapest Hotel and The Lobster.

The Good Dinosaur

Earlier this year Pixar came out with Inside Out, an emotional and creative journey that worked on so many different levels. Now for the first time ever, Pixar are releasing a second film in a single year with The Good Dinosaur, and it’s fair to say it has some pretty big footsteps to follow. 

65 Million years ago, deep into the asteroid belt, a collision sends an asteroid hurtling towards Earth, destined to make a significant impact on the future of the planet. However it passes over safely, nothing more than a glint in the eyes of the dinosaurs. After millions more years of evolution, dinosaurs have started to build a life for themselves, cultivating land and learning to speak English, naturally. Underneath the claw-tooth mountains, two Apatosaurus, Henry (Jeffrey Wright) and Ida (Frances McDormand) have built a homestead and are farming corn. They give birth to three children, Libby (Maleah Padilla), Buck (Marcus Scribner) and Arlo (Raymond Ochoa), the well-meaning but cowardly runt of the litter. 

By completing challenging chores around the farm, Libby and Buck soon “earn their mark”, a mud-print on the family’s corn silo which becomes a coming-of-age signifier and a seemingly unachievable goal for Arlo. Soon though, he gets his chance when the family’s corn supply is being eaten by a ‘critter’ and Arlo is tasked to capture and kill it. When the critter turns out to be a feral human caveboy (Jack Bright), Arlo lets him go. However Arlo’s decision ultimately costs him a loved one and lands him lost, way down the river, his fate almost certainly sealed and with only the feral caveboy - which he later names ‘Spot’ - as company. 

As anti-Disney as I am, it’s impossible to ignore a Pixar film when one comes out; because for one, they’re almost always original and nuanced, and also because they only come around in a blue moon. Well, they used to anyway. Under their new road-map plan for upcoming films, the Pixar schedule is getting increasingly condensed which makes me worry about the quality of the releases, and was certainly a major consideration when I went in to see The Good Dinosaur. As much as it may look like a film tailored solely to kids, Pixar has once again built a story that brings something to all ages. There are jokes here that will fly straight over kids heads, something clearly evoked to me through the running commentary of the toddler-packed screening I attended. “Why are they happy? Why are they sad? Are both my eyes crying now dad?”, it’s as hilarious as it is distracting so keep that in mind when choosing a time to go see this if you’re a childless adult like myself with nothing better to do. 

The plot itself is fairly straightforward and as such lacks some of the emotional and conceptual depth of other Pixar films, however it makes up for this with its cute story of an unconventional friendship and a dinosaur that just wants to get home. For a significant part of the story the film takes on a western motif - most likely to keep the dads in the audience entertained - and this was probably the funniest section of the film for me. I had never considered the fact that T-Rex’s kinda look like they’re riding invisible horses. Look I get amused easily alright. Spot, the rabid human of the film actually kinda reminds me of The Feral Kid from The Road Warrior - although I’m not sure if that’s where the inspiration comes from - and for a non-speaking role, the character is surprisingly nuanced, a testament to Pixar’s understanding of the subtleties of movement.

If the fairly colourful, surreal visuals of Inside Out weren’t the revelation in animation technology you always look for in a Pixar film, then this will absolutely make up for it because The Good Dinosaur is utterly beautiful, we’re talking photo-realistic at times. However as staggering as that is, the style is limited to the backgrounds/environment, whereas the dinosaurs and other animals come off as cartoony. This makes for a kinda cute contrast but it probably could have been executed better as at times it becomes slightly distracting and jarring. 

The Good Dinosaur is not the greatest Pixar film, but it’s still definitely worth seeing. The story isn’t as original as I’d hoped but it achieves a lot in a short running time and manages to tailor itself towards children and adults alike. The stunning visuals and joy of seeing Sam Elliott as a T-Rex alone more than make up for the cost of admission.

Trailers Week 77: 27/12/15

Deadpool (NSFW)

When a comic book character is written in the comics as being a certain actor and they get that actor for the movie based on him, it's pretty refreshing. That's why all the comic book fans love Sam Jackson as Nick Fury. But somehow I see Ryan Reynolds reprising his role (although closer to the actual character this time) as being a more mainstream hit.

Everybody Wants Some

One of Richard Linklater's most popular films is his ode to the 70s, Dazed and Confused. Now he's back in nostalgia territory, this time looking at the 80s. The great thing about the last film was that he used relatively unknown actors for the time and now it looks like he's gone down the same path. Starring Zoey Deutch, Glen Powell and Tyler Hoechin.

The Brothers Grimsby

I can't tell if Mark Strong's distaste is just his character or if he actually regrets being in this film.

Fifty Shades of Black (NSFW)
The Wayans brothers find the perfect film to suit their parodic needs.

Desierto

Do we really need a movie to show how scary border crossings are for Mexicans? This isn't helping anyone at all. Starring Gael García Bernal and Jeffrey Dean Morgan. Why are you doing this to us Alfonso Cuarón?

A Perfect Day

Aid workers in the Balkans try to get rope. That's it. Starring Benicio Del Toro, Olga Kurylenko, Tim Robbins and Mélanie Thierry.

Trailers Week 76: 20/12/15

Anesthesia

Is this just going to be another generic romance movie where a whole group of people come together in the end or is it going to have some substance? Starring Kristen Stewart, Glenn Close, Corey Stoll and Michael K. Williams.

Star Trek Beyond

J.J. passes the helm over to Furious 7 director Justin Lin for what looks like a more lighthearted Star Trek film. I swear that Simon Pegg is just turning into Benji from Mission: Impossible.

Diablo

Wow, I think this might be the most stereotypical Western ever made. Starring Scott Eastwood, Walton Goggins, Camilla Belle and Danny Glover.

Fantastic Beasts and Where to Find Them

Eddie Redmayne goes looking for those magical creatures on the loose. Also starring Katherine Waterston and Dan Fogler.

Eddie The Eagle

Taron Egerton dons some truly 80s gear in this movie about British ski jumper Eddie Edwards and looks exactly like the guy he's portraying. Also starring Hugh Jackman as the grizzled coach.

Whiskey Tango Foxtrot

Tina Fey hits Afghanistan as a journalist trying to make something of her life. Also starring Margot Robbie, Alfred Molina, Martin Freeman and Billy Bob Thornton.

Misconduct

A lawyer attempts to take down the head of a pharmaceutical company, but ends up having the tables turned. Starring Josh Duhamel, Anthony Hopkins and Al Pacino.

Yosemite

James Franco goes low-key in a movie about a group of boys trying to look for a mountain lion.

Ed's Thoughts - Star Wars: The Force Awakens

Warning – Whilst the minor details discussed here wouldn’t typically be considered *spoilers*, I know some people want to go into this film with as little information as possible. If you want spoiler-free, check out Jack's official review. You have been warned! 

The truth is, I’m not a Star Wars fan. 

Now before you rage-mash your keyboard into a galaxy far, far away let me clarify; I enjoy jumping into the world of the three Star Wars movies just as much as any casual observer, but given the fascinating obsessiveness of the legion of Star Wars fans, I simply don’t consider myself worthy to be classified among their ranks. So what did I – the casual observer – think about Episode VII - The Force Awakens? I’ll tell you as soon as I stop grinning. 

It’s probably best to address those movies that shall not be named right now. I was about the right age when the Prequel Trilogy started to come out - and I had enjoyed the previous ones - but looking back, these films were the reason why I lost interest in Star Wars. Quite apart from the story concerns that more avid viewers so frequently chastise them with; as a general film lover, my criticisms rest with the fact that they’re so blatantly boring and contrived that I find it difficult to sit through even one of them nowadays. The poor CGI and lack-of-hindsight toward shooting a blockbuster solely on digital at such an early stage in its lifecycle also frustrate me – but the visuals are but part of the problem, so let’s just continue to ignore those films for the time being. 

The Force Awakens is another brilliant lesson from J.J Abrams in how to capture the essence of a classic franchise whilst still selectively updating it for modern audiences. From the cheesy transition effects to the myriad of landscapes – J.J has built a time-capsule that will find the most uninitiated viewer fanboying out over even the most subtle nods to the original films. The reintroduction of old characters, ships, worlds and ideologies is handled with the utmost of care and with an emphasis on fun – and boy is this movie fun! From Stormtroopers backing away from Kylo Ren’s temper-tantrums to Han Solo’s greatly-missed running commentary on the ridiculousness of the situation, The Force Awakens puts as much emphasis on humour as it does adventure, with the two intermingling and playing off each other to form what I’d consider the first quality Space Opera since The Fifth Element. I’m also SO thankful that Abrams ditched the obsession with CGI for a focus on practical effects, another major reason that The Force Awakens really feels like it belongs alongside the original trilogy. 

To be fair, the movie does have its flaws. Parts of the story are occasionally rushed through with moments of blatant exposition - particularly during a conversation between Solo & Leia – and in general it feels like they’re trying to cover too much of the thirty years’ worth of changing content, but conflictingly that gracefully-choppy feeling actually brings it more in line with the style of the original trilogy anyway. Supreme Leader Snoke feels slightly out of place in the series as an actual character and whilst he & Nyong’o’s motion-capture is superbly acted out, their heavily CG’d characters stand-out like a sore thumb in a world that feels so real. There’s also not much room for a quick breather in over two hours of action and dramatics, but that’s never hurt the series before and it’s safe to say that the film is utterly exhilarating from start to finish. 

The returning characters grace the screen with ease, as if they’ve actually been off living their own lives these past few decades – something which is extremely difficult to achieve when reanimating a franchise. The old characters perfectly bolster the new, training them up to deal with the threats of the galaxy and preparing the next generation of crusaders. These new characters really do feel like they deserve to take the baton and carry the series to wherever Disney decides to take it. John Boyega’s Finn is funny and instantly charismatic - you do really hope he finds whatever redemption he’s looking for. Adam Driver returns a sinister arrogance to the dark side through Kylo Ren with just a dash of delightful innocence to keep you interested. Issac’s Poe is as cool as he is stylish with his trusty side-kick (and the cutest character since the Ewoks) BB-8. Make no mistake however, Rey is the cone that holds this film together. An extremely capable and thought-out character who’s no doubt destined for great things, just like her actor, Daisy Ridley; who plays her to perfection – Is it weird that I fanboyed more over the fact that she’s related to Dad’s Army’s Arnold Ridley rather than that she’s in a Star Wars film? 

Watching The Force Awakens exudes the same emotions that audiences must have felt watching A New Hope back in ’77. The care taken and consideration for every detail is evident from the opening crawl. Abrams has breathed new life into the dormant series and hopefully Rian Johnson will have as much success with Episode VIII. This isn’t just a tacky opportunity to relive what was lost and revel in nostalgia. The Force Awakens will make you care about Star Wars again.

Star Wars: Episode VII - The Force Awakens

This is definitely the most anticipated film release of the decade. The Avengers may have come close, but the excitement for this film transcends both generations and levels of fandom alike. A lot of that anticipation also comes from whether or not this film will be a disappointment like the prequels that came before. Well, guess what? It isn't! Yay, I know, how great is that. We finally get a film that one of my friends referred to as what the prequels should have been. It's not my job though to sit and sing the film's praises without having an in depth look at what makes it tick, so let's get to it.

This is usually the part in any review where I would set the scene for what happens in a film, but since a friend told me he would end my existence if I said anything about what happens, I won't. Not even vague details. I guess this is a chance for me to hone my skills as a critic, so I shall. J.J. Abrams had said that this is his love letter to the original films and that really shows. Almost a little too much though. There was a point where I realised that they were following the original film almost beat for beat, but they happen in different places and times. Where this episode differs greatly from the prequels is the fact that there will be an overall narrative. Yes I know they did too, but we knew how they were ultimately going to end.

The nostalgia and name checking is probably the most noticeable thing in this movie and it's not at all a bad thing. The reveals are fun when they could be extremely tacky and little things that will make fans eyes sparkle, do. If we were to place this film on a dark/light spectrum, Empire being the darkest of the films, Jedi being the lightest, it goes further than Empire did by leaps and bounds. The stakes are higher than any of the films and that's great for tension and excitement. Technically, this is a beautiful looking film. The practical effects are amazing and the CGI is seamless. There are no dodgy insertions or anything hastily pasted on. I was always amazed by the lighting and how it reflects on surfaces around it, especially the lightsabers, which were more impressive than in films gone by.

It should be easy for the returning cast members to slip back into character by now (and they do it well), but to bring a new character to the screen and make them likeable is a difficult task, but the young leads do well. Daisy Ridley is phenomenal as Rey and shows incredible promise as a lead for the series and John Boyega will do remarkably well in his supporting role. Oscar Isaac is one of my favourite actors so of course I am going to demand more screen time with him, but I know we'll see more of him in the upcoming films. Both Domhnall Gleeson and Adam Driver play bad guys way too easily if you ask me.

Giving this film seems like a pretty arbitrary task to me, but I have to give it one. I wouldn't go so far as to give the first Star Wars five stars, it gets a 4 1/2 from me, and the next best is Empire, just half a star down. I'm just really justifying my score now. Go out and see it!