Rating: The Good – 77 Genre: Crime Duration: 121 mins Director: Denis Villeneuve Stars: Emily Blunt, Josh Brolin, Benicio Del Toro
Cold and sinister narco-thriller with Emily Blunt top-lining as a FBI agent recruited by the CIA for a series of clandestine operations against a powerful Mexican cartel. As the missions begin to increasingly circumvent the law, the beleaguered agent grows suspicious of Josh Brolin’s lead agent and ever fearful of his mysterious cartel expert, Benicio Del Toro. After an admirable attempt in Prisoners, director Denis Villeneuve succeeds in crafting a morally bleak thriller with sufficient traction and believability to keep the audience engrossed all the way through. The war on drugs is articulated almost completely through the actions of the protagonists. The drama is shot with a slow-thudding realism while the dialogue chills the story a couple degrees lower. Left of centre to the plot, Blunt is subtly magnificent as she manages to stay relevant even while her character is necessarily marginalised. On the other side of things, Brolin is quietly having a ball but Del Toro is just plain scary. The narco-wars are very much in vogue at the moment but on several occasions, Sicario peels off a layer or two and reels us towards a world not often seen. Yes, the narrative moves inescapably towards Hollywood’s notion of closure but there are a sufficient number of unfamiliar twists and turns to intrigue the most ardent fans. Roger Deacons’ crisp textures and contrasts are central to this experience as is Joe Walker’s editing but it’s Villeneuve’s steely focus that makes this so darkly compelling.
Rating: The Good – 76 Genre: Crime, Thriller Duration: 101 mins Director: Danny Boyle Stars: James McAvoy, Rosario Dawson, Vincent Cassel
A suave and tricksy thriller detailing a heist mob’s unconventional attempt to hypnotically uncover the location of a stolen painting amidst emotional turbulence and full-blown crises of identity. Trance offers the best and worst of mercurial director Danny Boyle at about a 30/70 split. Stunningly shot and soundtracked to Rick Smith’s pulsing melodies, it sets out to explicitly defy narrative convention and treat us to a razzle-dazzle experience over old fashioned storytelling. Though we’ve seen attempts like this before, what Trance lacks in originality it makes up for in burning focus and unflinching persistence. And with James McAvoy and the always splendid Rosario Dawson mischievously wrapped up in the deep dark psychological hijinks, the experiment is only enriched. But trippy entertainment only goes so far and with the plot hoisted so brazenly atop of Boyle’s sacrificial alter, not even actors of their class and magnetism can keep us invested in the manner we’d expect and desire from a clever heist thriller.
Brian De Palma and Oliver Stone’s reimagining of Howard Hawks’ prohibition-era gangster epic replaces the grime of old Chicago with the neon glitz and kitschy glow of 1980’s Miami and sets the scene for one of the most unique gangster movies of them all. Drop Al Pacino into the lead role of Cuban exile come narcotics trafficking kingpin and you can add “most explosive” to that accolade too. Pacino inhabits the gnarly skin of Tony Montero like few actors could or have as he steels the screen with his presence. An unpredictable concoction of balls to the wall attitude and psychopathic viciousness that bubbles to the boil around five minutes in and continues that way until the movie’s gargantuan close. Though everyone else falls in his frothing wake, there’s a lot of fun in their performances from Tony’s partner and incorrigible ladies-man Steven Bauer, to his reluctant self-hating wife Michelle Pfeiffer, to Robert Loggia’s weak-willed mob boss desperately trying to keep his insanely ambitious young charge on a leash.
Much has been made of this remake’s audacious production design and it’s usually this aspect that most detractors set their sights on. But regardless of criticism, there’s no denying that Scarface is its own film. Moreover, the truth is that, alongside Giorgio Moroder’s amusingly profound score, De Palma’s vision goes so far beyond cheesy that the movie exists in a fascinating kind of hyper-real haze of meta-gangsterism. And as is the case with every one of that director’s 1980’s movies, that’s exactly the point! Scarface isn’t a straight gangster narrative even though its works brilliantly as such, nor is it an action film even though its littered with sublimely staged (not to mention rather grisly) set-pieces that dwarf most of that decade’s best. Scarface is a twisted fairytale of greed and ambition funnelled through the intense personality of one of cinema’s most powerful actors at the height of his powers. Through this vessel, Stone’s crazy but endlessly quotable dialogue bristles with the megalomanic intention of a coke-fuelled tyrant and again, like all De Palma’s movies from around that time, it thus becomes a statement on the state of contemporary cinema itself. That it’s a riveting blast to experience just makes it all the more remarkable.
Rating: The Good – 63.8 Genre: Crime Duration: 91 mins Director: Aaron Woodley Stars: Kevin Zegers, Ray Liotta, Laura Vandervoort
Slightly above average thriller involving the abduction of three rich kids by three malcontents who attempt to ransom their prisoners to the three wealthy fathers. A low profile cast add some bite to a well structured screenplay with Ray Liotta bringing his natural snakiness to his fatherly role. The dialogue can struggle to rise to the sharpness of the story but Aaron Woodley’s classy directing fills some of the void. For the most part, The Entitled sidesteps the more formulaic tracks and tickles the audience with the ambiguous morality and strained allegiances found among each of the three parties. It’s that moral coolness that allows the movie to play out to a satisfying conclusion and without ever really catching fire, The Entitled manages a continuous simmer.
Rating: The Good – 75.8 Genre: War, Drama Duration: 133 mins Director: Clint Eastwood Stars: Bradley Cooper, Sienna Miller, Kyle Gallner
Bradley Cooper takes on the role of Chris Kyle, the most lethal sniper in U.S. history, in Clint Eastwood’s take on the personal politics of war and the wearing effects it has back home. Putting in another immense shift, Cooper constructs a strong character that sways and bends under the stresses that come with his elite skill. Beginning with his training as a Navy SEAL, we follow Kyle through his four tours in Iraq and his intervening attempts to build a family, where a number of plots play out in successive manner. Plots ranging from the SEALS’ mission to take out a local warlord to Kyle’s personal but often thrilling battle with an elite enemy sniper. Eastwood is to be commended for maintaining the integrity of each of these plots while sewing them into the wider dramatic story concerning Kyle’s wife (Sienna Miller in a solid turn) and his increasingly debilitating PTSD. In fact, American Sniper is arguably the veteran director’s most artful film from the point of view of its structuring. His use of flashback and parallel scenes help to move the film forward so the audience is informed and engaged at an equally steady rate. The action sequences are less inspired with respect to Clint’s directing but their sheer scale tend to compensate for that. Where Eastwood’s touch truly lets him down, however, is yet again in the dramatic stakes. Always a relatively cold director, he fails to make the camera one with his protagonists and while this could have allowed for a more realist style, his pedestrian camera work is incapable of serving that end. In the end, much of Bradley’s good work is left unharnessed as what should be a very personal movie feels decidedly impersonal. American Sniper has been the subject of much political discussion concerning the “War on Terror” and the lauding of an elite killer who showed less remorse in real life than is depicted here but such criticisms are outside the scope of a straight up film critique and so, as a war movie with a dramatic edge, American Sniper must stand on its artistic merits alone. In that respect, it has much going for it even in spite of some directorial limitations.
Rating: The Good – 77.7 Genre: Comedy Duration: 103mins Director: Michael Lehmann Stars: Winona Ryder, Christian Slater, Shannen Doherty
“Dear diary, my teenage angst bullshit has a bodycount.” Recent addition to the school’s most popular clique, Winona Ryder, is growing ever wearier at the inane conventions of her new friends, three preppy girls all named Heather. In steps Christian Slater, a proactive cynic whose extreme reactions to the superiority complexes of the chosen few are the source of the some shockingly funny moments.
Like all great black comedy and unlike so many recently failed attempts, the darkness in Heathers is effortless and so the comedy is viciously hilarious. Daniel Waters’ delicious script is driven by a playful yet unyielding focus that slices fantastically at the indulgence of the high-school movie genre and indeed society’s broader indulgence of the precious order that its middle class teenagers had so mercilessly forged in the 1980’s in particular.
Ryder has never been better and for those who’ve only seen her Dracula-type performances, they should take a look at this. For such an acerbic story, she brings a level of reality and even warmth to the role that serves to make her incredulous narrations and interactions with the various characters all the funnier. Slater is at his best too, his slow burning charisma making him the perfect choice to play the self-anointed social equaliser. His character becomes both Waters’ main vessel and his target as he slowly works his way through the equally self-anointed social elite. Michael Lehmann’s directing is adequate but a little uninspired, which is actually quite a shame because this movie would otherwise be damn near perfect.
An elegantly directed sci-fi adventure considerably undermined by yet another painfully flat Nolan screenplay, Interstellar charts the epic attempts of a small group of scientists and astronauts to locate a planet capable of supporting the human race as its Earthly sustenance quickly dries up. Mathew McConaughey heads the cast as the mission’s pilot desperate to get back to the children he left behind before they age beyond the point where he can help them while Ann Hathaway’s stiffish scientist and a couple of nicely conceived robots keep him company on board the spacecraft. Back on Earth, Michael Caine is the brains behind the mission, Jessica Chastain is the grown up version of McConaughey’s equally clever daughter, and Casey Affleck is his son who, like the majority of remaining humans, is attempting to farm what’s left of their desertification-headed planet.
Regaining his 2008 Dark Knight directorial form, writer-director Christopher Nolan composes a quite beautiful and thrilling action thriller that achieves a perfect balance between mood and energy with no small help from Hans Zimmer’s sublime score. Making the deftest use of Hoyte Van Hoytema’s stark and striking cinematography, he avoids overplaying the CGI card keeping the story front and centre. The story isn’t bad either and, predictable as its key moments are, it serves Nolan’s grand ambitions for a Kubrickian like space epic. More the pity then that the screenplay does not. Bloated with expositional dialogue and artificial sentiment, it bungles its way towards a gargantuan mishandling of a straightforward (“save the world before it’s too late”) premise with the kind of overblown piece of psycho-physical drivel that plagued Inception. Co-penned with his more adept writer-brother (Jonathan sat Inception out), this script at least shows more restraint than that 2010 monument to tedium but not nearly enough to engender its protagonists nor their dilemmas with the depth and cadences that the premise deserved. The well conceived drama emerging from the astronauts ageing more slowly than their loved ones back home is an exception to this and proves to be the movie’s one successful appeal to the audience’s emotions.
Ultimately, the problem with Interstellar is yet again one of Nolan reaching beyond his capabilities by attempting to match the work of masters who simply operated at a level higher than his own (that’s not an insult Chris, most filmmakers toil in the shadows of Kubrick and Tarkovsky!). The innumerable references to 2001: A Space Odyssey eventually feel less like a homage and more like an attempt to disguise that failure, proving far more imitative than emulative. That said, the couple of HAL-inspired robots (the Bill Irwin-voiced “TARS” in particular) work fantastically within the confines of this story, coming alive in a whirl of mechanised motion during the best of the action sequences and adding most of the humour outside of them. And, thankfully, it’s these such lighter more grounded touches that sees Interstellar passing muster as a sci-fi thriller even while failing as an attempt at something more profound.
Rating: The Good – 83.6 Genre: Crime Duration: 122 mins Director: Michael Mann Stars: James Caan, Tuesday Weld, Willie Nelson
Michael Mann’s seminal crime thriller focuses on James Caan’s master thief who, in an effort to attain the family he always wanted, eschews his independence and reluctantly agrees to work for a crime king-pin (Robert Prosky) only to find himself locked into an interminable contract. Caan rated this as his best performance outside of Sonny Corleone and he is utterly mesmerising as the balls-of-steel Frank who is willing to sacrifice everything rather than lie down for anyone. Prosky is immense as the old mobster who can switch from genial father-figure to ruthless monster at the drop of a hat. Thief has all the trademarks of the great Mann films. The ultra-real dialogue, the technical proficiency of the criminals, a subtle yet powerful score (courtesy of Tangerine Dream), and slick night time shots of Chicago’s mean streets. Moreover, Mann’s films are often based on the study of obsession and disciplined dedication to one’s craft and nowhere is this better realised than here. The set pieces are as innovative and disciplined as we’ve come across and when combined with the searing performances and inspired dialogue, it becomes truly captivating. Thief is a crime classic and arguably one of the genre’s greatest representatives. It achieves a gritty realism that movies of that genre are always in search of but rarely attain.
Rating: The Good – 77.1 Genre: Drama, Satire Duration: 102 mins Director: Mike Nichols Stars: Tom Hanks, Julia Roberts, Philip Seymour Hoffman
Mike Nichols turns his prodigious talent for satire to Aaron Sorkin’s clever adaptation of the true story of a Texas congressman’s attempts to secure the covert military funding that would ultimately tip the balance of the Soviet-Afghan war. Tom Hanks as the unorthadox good-time politician and Philip Seymour Hoffman as his irreverent CIA adviser form one of the best on-screen partnerships in recent decades as they bat Sorkin’s indignantly funny dialogue back and forth while Julia Roberts and Any Adams help to fill out the support roster intelligently rising to the spirit of Sorkin and Nichols’ storytelling as they go. The movie that unfolds is a delight of sardonic wit in both its writing and directing but, in typical Mike Nichols fashion, it effortlessly doubles as an engrossing political drama by perceptibly accounting for geo-political implications and character development alike. Sorkin’s feisty screenplay zips along at its usual pace but Nichols knows exactly when to channel that momentum or temporarily contain it so that its energy is maintained without dumbing down the drama. Unsurprisingly, Wilson comes out smelling like roses but only because Hanks and co. know exactly how to turn those warts into beauty spots and so, like the man himself, Charlie Wilson’s War charms its way into the audience’s hearts.
Rating: The Good – 83.4 Genre: Thriller, Drama Duration: 95mins Director: John Flynn Stars: William Devane, Tommy Lee Jones, Linda Haynes
As good a thriller as the 70’s offered up, Rolling Thunder is damn near perfect. The ever cool William Devane and Tommy Lee Jones play two POW’s who, after returning home, find life as torturous as their imprisonment was. Things get steadily worse for the hard boiled Major Charles Rane (Devane) when his wife and son are murdered by a gang of home invaders who also take his hand. Devane gives a smouldering performance as a man who has “learned to love” torture as a means to surviving it. A young Tommy Lee Jones is sensational as the equally stoic Johnny who ultimately helps him to exact his revenge. John Flynn allows this masterpiece to develop at its own pace building the film not around the inevitable action but rather the drama that comes with a man who is pushed to the brink but never breaks. The parallels between Rane’s time in captivity and the life he has returned to are repeatedly drawn but never explicitly so, ensuring that the viewer discovers something new on each viewing. Thus, the more one watches this gem the better it gets. “Let’s go clean ‘em up”.
Rating: The Good – 88.1 Genre: Comedy, Romance Duration: 112mins Director: George Cukor Stars: Cary Grant, Katharine Hepburn, James Stewart
Katharine Hepburn, Cary Grant, and James Stewart form a golden trio for this definitive comedy of manners. Hepburn is the iron clad “goddess” with an inside made of bronze, Grant is the ex-husband who resurfaces on the eve of her next marriage to one of the “new money”, and Stewart is the working writer sent to cover the wedding for a celebrity gossip magazine. The three way relationship is bang on perfect thanks to the three titans of cinema and the deliciously worded back and forths present in Donald Ogden Stewart’s magnificent adapted screenplay and Philip Barry’s original play.
Hepburn is immense as the quick witted socialite, Tracy Lord, who has learned to repress her more compassionate side. In any other movie, she’d own the entire thing but with Grant and Stewart in top form they share the spoils equally. Grant is at his most charming as C.K. Dexter Haven and, while only really coming to the fore in the second hour, he’s responsible for most of the film’s emotional thrust. As the one more responsible for the movie’s straight comedy, Stewart’s Macaulay Connor is the perfect foil for Tracy’s playful cynic and indeed the funniest moments are the product of their dynamic. There’s a fine support cast on show too with John Halliday in great form as Lord senior.
George Cukor does an exemplary job in coaxing the drama from the more constrained parameters of the stage and onto his luscious monochrome while simultaneously keeping the quick repartee as the primary driver. The Philadelphia Story is one of those rare immortal comedies in that it’s lost none of its sophistication as the years go by. In fact, with the relative dumbing down of the modern romantic comedy, it has only grown in stature.
Rating: The Good – 75.5 Genre: Crime, Thriller Duration: 93 mins Director: Michael Winner Stars: Charles Bronson, Vincent Gardenia, Jeff Goldblum
A milestone in vigilante cinema that doesn’t as much walk the line between right and left wing politics as it draws it. Bronson takes on perhaps his most dramatic role as the liberal architect whose wife and daughter were respectively murdered and attacked in their home. After a slowly realised grieving process, he finds himself increasingly drawn towards the idea of taking matters of self-protection into his own hands. Director Michael Winner ducks and weaves his way through the political hinterland of his drama with a series of right jabs but lands a couple of integral left hammer blows so that he deceives his way to a rather interesting analysis of crime and morality. There’s no rush to the action either as he lays out in meticulous manner Bronson’s remorse and development from fearful citizen to eager vigilante. It’s richly shot in what is clearly one of Winner’s more polished productions and embellished with some outstandingly staged action sequences.
A particular treat however is the cynicism and indeed prescience of Wendell Mayes’ screenplay (adapting Brian Garfield’s novel) which sets the actors on an even strain within Winner’s languidly unfolded drama. The cast blow got and cold however with the normally excellent Steven Keats missing the mark completely as the son in law and a young Jeff Goldblum featuring briefly as one of the most ridiculously unthreatening hoodlums to tumble his way through a murder scene. Bronson too struggles woefully to give his lines the right cadence but his charisma burns through those failings to the point that few could’ve done the job better. On the plus side Vincent Gardenia is fantastic as the bemused police captain in charge of bringing the vigilante to justice.
Not surprisingly, this movie has been both hailed and denigrated as a piece of right wing propaganda but that perception is to completely miss the intricacy of the story being told. From the examination of violence in the television/movie culture, the use of both white and black criminals, to the manner in which Bronsan sets out to lure his victims, there’s little to suggest that self defence against an impoverished underclass is what lay deep in Bronson’s heart. Something else was in play, something much more insidious and interesting from a dramatic point of view. And with that infamous final shot of Bronson smiling at a group of thugs, Winner and co. didn’t just close in style but they had one last go at getting their point across. They made it count!