Rating: The Good – 76 Genre: War, Drama Duration: 130 mins Director: Joseph Sargent Stars: Jason Clarke, Jake Gyllenhaal, Kiera Knightley
Movies recounting humankind’s gruelling attempts to overcome nature’s obstacles tend to be either underproduced and rather dull affairs or overproduced and predictably brainless action movies so it’s a welcome surprise when we come across one that so effectively balances the internal and external factors to the story as much as Baltasar Kormákur’s film does. Couched in a comfortable budget, Everest captures the visceral wonder of the experience but maintains the writing and acting as its prize assets. And with a cast of A-listers all willing to do their bit for far less billing than their status normally demands, it pays dividends. Jason Clark hits all the right notes as the expedition leader and Josh Brolin and John Hawkes add handsomely to the medley of emotional tribulation while Jake Gyllenhaal, Sam Worthington, Kiera Knightley, and Robin Wright help shape both the story’s physical and personal contexts so that theme and drama meet harmoniously in the middle. Not everyone will be happy with Kormákur’s aversion to set piece action but those with an appreciation for attritional authenticity should find his adventure rather compelling.
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 – 70.5 Genre: Sport, Drama Duration: 118 mins Director: Peter Berg Stars: Billy Bob Thornton, Jay Hernandez, Derek Luke
Director Peter Berg and writer David Aaron Cohen’s adaptation of H.G. “Buzz” Bissinger’s novel chronicles the travails of a football mad Texas town and their high school team’s attempt to win the State Championship amidst social and personal pressures. Living up to the seminal novel was always going to be next to impossible especially for a (albeit) solid journeyman like Berg but there’s no denying this one just sort of works. From the bone shaking tackles, the swagger of the touchdowns, to the strategising on the sidelines, Berg does every bit of the game justice and so the audience will be suitably engrossed on that level alone. But it’s the team camaraderie and off-field personal tests that coach and players alike face throughout the season that gives this movie its substance despite Berg and Cohen presenting only fleeting snippets of each drama ‘s due to time limitations. Berg quite smartly uses the energy of the rough and tumble to exhilarate the audience and then funnel it into some rather touching moments of emotion when needed. It’s all very explicit with plenty of slow motion shots and uplifting score but, because of its honesty and Berg and Cohen’s success in binding us to the players, the resultant goosebumps are guilt free and welcome. Billy Bob Thornton puts in an outstanding shift as the thoughtful coach desperate to keep both his self respect and his job despite their mutual interference. But it’s a bunch of unknowns that fill out the rest of the cast and not one puts a foot wrong. Modest in its aims yet efficient in its execution, Friday Night Lights does what all good sports dramas should do and remains respectful of the source material as it goes. Nicely done Mr Berg.
Rating: The Good – 74.4 Genre: Drama, Sport Duration: 134 mins Director: Bennett Miller Stars: Steve Carell, Channing Tatum, Mark Ruffalo
When a billionaire dilettante, John du Pont, attempts to build a reputation as a wrestling coach, he persuades the more vulnerable of the Olympic champion Schultz brothers, Mark, to lead his new team on his family’s Foxcatcher estate. As du Pont insinuates himself into Mark’s life until the latter withdraws, the disturbed misfit refocuses his attempt to lure the older brother, Dave, to Team Foxcatcher to the ultimate detriment of both siblings.
Based on actual events, Bennett Miller’s flagellating drama is a cognitively murky examination of the loneliness and exasperation of unfulfillment, from both human and more extreme perspectives. Changing Tatum becomes the focus for the former as the insecure and confused young man who has lived in the shadow of his older brother’s heroics. It’s a revelatory turn from the former model as he distills all the raging emotion of his character into a dangerous simmer. Representing the psychotic end of that personality’s spectrum is Steve Carell in an outstanding turn against type. Bloated with rabid inferiority issues and deranged paranoia, he’s unrecognisable as the insidious du Pont. But rounding off the cast as Dave Schultz is Mark Ruffalo and it’s the performance we always knew was coming from this consistently impressive actor. With rather limited screen time, given the first two acts’ focus on the other two characters, he gives this story the emotional grounding it desperately needs. It’s a touching not to mention commanding piece of acting that should consolidate his reputation as one of the best actors working today.
Telling a distinctly unusual tale, Foxcatcher offers much in the way of psychological intrigue and it curiously compels on those terms alone. Flush with revealing symbolism and set against Rob Simonsen’s (Moneyball) thoughtful score, it’s another starkly polished film from Miller in which he spends much of his time laying an immaculately composed canvas for his drama. But, while there’s plenty of it, it unfortunately needed more traction. Whereas Miller was aiming for a pensive touch, his directing instead feels a tad aloof. With such strong characters, we needed to see more of their human side. And in the case of Ruffalo who still managed to imbue Dave Schultz with all manner of deeply impressive personal touches, embracing that side to the story might well have paid dividends. As it stands, Foxcatcher remains an affecting work but not one that will bear too many revisits.
Rating: The Bad – 54 Genre: Drama, War Duration: 114 mins Director: Morten Tyldum Stars: Benedict Cumberbatch, Keira Knightley, Matthew Goode
Morten Tyldum’s moody WWII drama is based on the true life endeavours of Alan Turing as he attempted to crack the Nazi’s Enigma code by building a top secret machine that would become the platform for the modern computer. Outside of the broader premise which is executed rather well using montages of actual WWII footage, a lot has gone wrong here. The “extraordinary guy in an extraordinary situation” has become a staple of Benedict Cumberbatch’s career so much so that one struggles to think of him as anything but the socially inept, arrogant, patronising, superior mind so far removed from the rest of us that he’s destined to be misunderstood forever. What’s worse is that, over the last decade, this personality has crept insidiously into the television and Hollywood mediums like few others. Everyone from Hugh Laurie’s House MD to Claire Danes’ Carrie Matheson has had a crack at it and while a small few like Jesse Eisenberg in The Social Network have done it with a level of complexity that humanises the conceit, most have bored the socks off us. If Cumberbatch’s Sherlock placed him among Eisenberg’s precious minority, his version of Alan Turing is very much the other kind – though his screenwriter Graham Moore (adapting Andrew Hodges’ biography) should shoulder some of the blame. Inaccessible but interesting isn’t easy to pull off but a lack of effort in achieving such balance is what is most concerning here. Everyone seems happy enough to portray the tortured mathematician as an oddball and nothing more. To celebrate it, in fact. As such we get a one-dimensional (not to mention cliched) central performance that scuppers the film from the outset.
Unfortunately, the screenwriting problems don’t end with its protagonist for The Imitation Game is the latest film to culminate every sequence of dialogue with an awfully clever sounding bit of folkish wisdom framing the entire scene around it as if to iterate that we’ve just heard something very special. You know, kind of like grabbing the audience by the back of the head and forcing them to appreciate the “genius” of the line up close. Sadly, more often than not, lines such as “Sometimes it is the people who no one imagines anything of who do the things that no one can imagine” are borne of anything but genius and so the less attention they attract the better for everyone. But of course increasing the pace of the dialogue helps substantially in disguising inanity as wisdom and The Imitation Game isn’t about to buck the trend here either. Nor is it likely to pass up an opportunity to intertwine three different timelines from Turing’s life so as to tease out the ostensible profundity of the movie’s title (and that of his most famous book). After all, the dual relevance of mimicry to his personal and professional life is so subtle that it needs to be the central thread of any modern movie that has designs on being “smart”. What better way to achieve this than employing a similar backstory device as that used by The Social Network. And didn’t they talk really fast there too? Wait a minute! Is this a WWII version of Fincher’s classic? Well not quite because Fincher, Sorkin, and their cast gave their characters depth to begin with. The devices simply allowed for an artful way to unfold those layers.
With such bland characterisation, The Imitation Game instead gives one the distinct impression of being conned. Conned into thinking Turing is being humanised without him actually being humanised. That he and his fellow code breakers are intelligent in the absence of any really intelligent dialogue. That the film is profound even though it’s not. In fact, one could argue that it stands as testament to how far mainstream movie-making has strayed from the basics of storytelling so as to indulge gimmicks and the formula of those few thematically similar films that have proved successful. That it toils in a genre that has been addressed over and over again by previous generations of filmmakers perhaps underlines this more but it’s about time producers reinvested some trust in the writing process.
Rating: The Good – 93.7 Genre: War, History Duration: 195 mins Director: Steven Spielberg Stars: Liam Neeson, Ralph Fiennes, Ben Kingsley
Steven Spielberg’s most personal film about the attempt of a German industrialist to save 1,100 Jews from the gas chambers by cajoling, bribing, and manipulating the greedy, preening officers of the SS camp in which they worked. There are few subjects so in need of honourable treatment than the Holocaust of WWII and that might explain why there are precious few cinematic accounts out there. That the most moving came from the master of the big screen adventure is both unlikely and likely. Yes, he is better known for movies aimed at younger audiences that leave little if anything to the imagination (because he succeeds so completely in getting it all up there on screen) but by the early 90’s, Steven Spielberg had already shown us he was capable of crafting touching broad-scale dramas with the likes of The Colour Purple. He had also demonstrated a cultured understanding of moviemaking with masterpieces like Jaws. That said, his experience with the ‘in-your-face’ cinematic techniques of the Hollywood emotional payoff is as much responsible for the effectiveness of this film as his more deft qualities. For the holocaust is a piece of history that requires in-your-face type confrontation. The cruelty and horror of what happened to the Jews needs to be shoved down our throats every now and then so we truly don’t forget. Yes, the artistry of the more subtle scenes elevates this film to the echelons of cinematic greatness and that is edifying for its status as a film, and yes, the more mature examination of the complexities of cruelty, guilt, and mass hatred can culture our understanding of humanity. But it’s the refusal to shy away from the raw horror of what happened that gives this film it’s universal resonance and that is imperative.
The result is a gruelling watch that will turn your face to stone yet in some small way do justice the suffering. Technically, there’s barely a false note played from the set and costume design to the sound production. But standing out is without doubt Janusz Kaminisk’s stunningly lit monochromatic photography. Spielberg’s use of his work here is nothing short of sublime from the moment he introduces his main character to the his final scene. In retrospect it seems now that nobody could inhabit this carefully constructed space better than Liam Neeson. He brings all the gravitas of an A-lister to the film but with the daring of an actor who has had to work for a living. It’s a tightrope of a turn that requires capturing all the ego, manipulation, caring, and bravery of the man. As his right hand man, Itzhak Stern, Ben Kingsley is beyond praise. Ralph Fiennes is to be commended too for giving what could’ve (and may well have been in reality) a mono-dimensionally evil character enough layers to, not excuse his actions (and those of many others like him), but to explain them.
However, whether the conversation be the acting, the editing, or John Williams deeply moving score, one always comes back to the director. It may have been a personal project but that in no way comprises his clarity. Despite the broad scale of both the story and the emotions it evokes, Schindler’s List is as focused a work as anything that has graced the medium and made with a level of skill that at times is breathtaking. The varied manner and innumerable methods that Spielberg uses to lay bare the cruelty and indignity with which the Jews were treated is as chilling as it is ingenious and it’s through these contrasts or critical junctures between the surreal and real that this indictment and essential analysis of one race’s inhumanity to another is enacted. And while one race in particular will be forever under scrutiny for these actions, the film’s greatest achievement is that it rises above the primal tendency to point fingers. That Spielberg chooses a German to be the hero in this tale is of course his essential message – the Jewish Holocaust was and is a human problem not a German one.
Corporate whistle-blower dramas are generally done quite well in Hollywood but this powerful adaptation of the Vanity Fair article is top of the heap. Russell Crowe is excellent as the former tobacco scientist Jeffrey Wigand who breaks his confidentiality agreement by doing an interview with 60 minutes. Al Pacino is just as good as the news show’s producer Lowell Bergman who initially recruits Wigand but inevitably becomes his devoted protector. Mann’s dialogue has always had the ability to strip away any superfluous emotion from his central characters to reveal their underlying obsession (usually with their profession). Though the characters in The Insider are just as driven, Mann’s screenplay and particularly his ability as a director to catch the actors’ more idiosyncratic glances or twitches (as if by accident) gives the characters in this film a real depth of emotion that combined with the superb acting (from all parties) imbues the proceedings with a pervasive sense of authenticity. What more could you want from a true story?
Rating: The Good – 75.4 Genre: Crime, Thriller Duration: 105 mins Director: Chris Gerolmo Stars: Stephen Rea, Donald Sutherland, Max von Sydow
Stephen Rea excels in this true life dramatisation as a Russian forensic investigator, Viktor Burakov, who in the 1980′s found himself charged with tracking down the country’s most prolific ever serial killer. This is a captivating tale about moral and personal fortitude as much as is it about a deeply disturbing serial killer. Burakov was almost entirely hampered by bureaucratic squabbling, political influence, and desperate lack of resources which for years prevented him from getting close to his man.
Rea brilliantly captures the quiet steel-like determination of his character, his emotional exhaustion, and utter exasperation at the endless obstacles he recurrently faced. He carries the film with an almost indescribable ease which feeds into the strength of Burakov’s character perfectly and in the moment when Burakov finally breaks down, the payoff is immense. Donald Sutherland is on hand as his unlikely ally, Colonel Fetisov, and provides a great foil to Rea’s more intense role.
Director Chris Gerolmo is to be commended for giving this one the appropriate time to breathe and not rushing any part of it. Not shying away from the horror of the events, the grizzly killings are shot in an almost unbearable fashion. But Gerolmo doesn’t attempt to gloss them up either. In fact, the film’s style is very much in keeping with the feel of Soviet Russia at that time thanks to the aforementioned pacing and some subtly excellent production design. Made as it was for TV, Citizen X never really got the credit or praise it deserved but it doesn’t just compete with the majority of bigger budget theatrical features toiling in the same genre, it overshadows them. In fact, Citizen X is easily one of the best serial killer films and it probably only stands second to the seminal Manhunter.
Rating: The Good – 74.4 Genre: Sport, Drama Duration: 140 mins Director: Gary Ross Stars: Tobey Maguire, Jeff Bridges, Elizabeth Banks
The timeless story of the “little horse that could” is given near mythological status here by writer/director Gary Ross and the perfect narration of Pulitzer Prize winning historian David McCullough. Seabiscuit is the ultimate long-shot story given the physical qualities of the horse and unorthodox style of its rider Red Pollard. The fact that it’s all true makes it even more compelling. And compelling it is. This is the type of movie, like it or not, that will give you goose-bumps all over with a number of exquisitely-crafted scenes that will stay with you for a long time. Toby Maguire stars as Red and he does a decent job as the troubled jockey who forms a deep bond with the horse. Jeff Bridges is in top form as the wealthy businessman who finds his true calling in looking after troubled jockey and horse alike and Chris Cooper is magic in the role of the seasoned trainer. Perhaps the standout strength of the film is the sense of period and time passing which Ross evokes so powerfully. In this, he is aided by McCullough’s craggy almost epoch-defining narration that comes to life each time the story skips forward in time. This movie will unashamedly pull on the emotional chords but it does so in such a skillful way that you’ll forgive it ten times over. The writing, the directing, and the acting are so meticulous that you’re hostage to it from early on. So just give yourself over to it and enjoy the rewards.
Rating: The Good – 89.7 Genre: Adventure, Drama Duration: 158 mins Director: Werner Herzog Stars: Klaus Kinski, Claudia Cardinale, José Lewgoy
Werner Herzog’s masterwork is a stunning achievement both in terms of the logistics involved in making it (it was shot on location in some of the roughest terrain and on actual river rapids and yes, they actually did drag a boat over a mountain!) and the statement on mankind it becomes. The typically brilliant yet unpredictable Klaus Kinski headlines as Fitzcarraldo, an opera worshipping and eccentric businessman who attempts to exploit an inaccessible resource of rubber trees by dragging a steam ship over a small mountain to a parallel river. Driven not by monetary greed exactly, he is more concerned with doing something monumental and beautiful for the jungle which he loves in his own strange manner. The way in which he ultimately might go about building his monument takes many twists and turns and requires severe shifts in perspective but that is the ultimate point of this extraordinary film as his and the audiences’ perspective slowly become one. This is cinema at its most invigorating as Kinski and Herzog combine yet again in an artistic marathon. The former is electric as the white suited, blonde adventurer while Herzog frames it all in a way only he can as he brings both the jungle and story to life in equally impressive measures.
Rating: The Good – 76.9 Genre: Thriller, Drama Duration: 122 mins Director: Costa-Gavras Stars: Jack Lemmon, Sissy Spacek, Melanie Mayron
Costa-Gavras’ gem of a film chronicles the true story of a political writer (played by John Shea) based in Chile during the revolutionary turmoil of the 1970′s who disappears after he is taken away by the military. The story follows the attempts of his wife (the wonderful Sissy Spacek) and his father (a sterling turn by Jack Lemmon) to find out where he is and what happened to him. Shea is fine if a little wooden but he is only really a support player as this movie is all about Lemmon and Spacek’s considerable performances and on-screen dynamic. Costa-Gavras structures the film superbly and bookends the film in a profoundly clever manner. All in all, Missing is a glowing testament to the quiet power of cinema and not to be missed if you like slow-burning political thrillers.
Rating: The Good – 92.9 Genre: Drama Duration: 120 mins Director: David Fincher Stars: Jesse Eisenberg, Andrew Garfield, Justin Timberlake
“Creation myths need a devil.” The Social Network was hyped by some as one of the best films of all time on its release and actually, they just might have been right with this one. A master class in pacing and screenwriting, this story about the founding of Facebook and the man behind its creation is one of the most compelling films of the modern era. It may take dramatic license as it reconstructs the details of the personal and legal battles that followed the launch of the website but the result is as focused an examination of the digital generation as we’ve seen thus far.
Deeply sophisticated parallels are forensically drawn through the centre of this story as director David Fincher and writer Aaron Sorkin intertwine Mark Zuckerberg’s rise to prominence with the traditional concept of social popularity while reflecting on the dynamic the latter shares with the new order. Characters and plot are richly conceived as the drama unfolds in Shakespearean proportions and by the time it’s all done, we feel we’ve been let in on something really special. Everyone involved acts their socks off but this film is built around the ever excellent Jesse Eisenberg’s sensational performance as Zuckerberg. It’s an intricate piece of work because much of the character’s thoughts and emotions occur very internally and are therefore left to the audience to infer. But thanks to an abundance of carefully orchestrated and delightfully timed micro-expressions, we do.
For a film which was largely built around an emotionally reserved protagonist, the score was always going to be important and Trent Reznor and Atticus Ross respond to the challenge in resolute fashion with what could arguably be referred to as one of the best scores of the decade. Their subtly balanced electro-rock compositions are perfectly weighted to the different segments of the film and wonderfully carry the audience through the complex social worlds the characters inhabit. As they do in the script, the parallels present in the different compositions help to tie them together into one overarching score that feels as comprehensively part of the film as the cinematography or production design (which by the way were also just about the best we’ve seen in the last decade).
However, the final words of praise should be saved for Sorkin and in particular Fincher who craft this complex, multi-tiered tale into an astute study of the struggle for acceptance in the modern world. In the streamlined focus of the latter’s direction, the former’s writing found its perfect outlet as Sorkin’s potentially wearing indulgences are shorn away in favour of properly individuated character conceptions. Fincher doesn’t get enough credit for his ability to edit scripts but one look at the “behinds the scenes” footage of his writing meetings with Sorkin quickly reveals how he steered Sorkin’s lush script away from the pretentious self-glorification of something like The Newsroom.
But it’s Fincher’s overall command of the project that makes The Social Network such a magnificent experience. A low hum of anticipation builds through the picture, particularly during the early scenes, giving the audience a genuine feel for the magnitude of the project Zuckerberg was embarking on. It’s an implicit but irresistible feeling engineered through structure and Fincher’s impeccable understanding of how much distance to keep between his actors and the camera at all times. In those moments of revelation and/or accomplishment when this sensation actualises, we are witnessing the consolidation of truly mesmerising direction. The ultimate example being the arresting sequence in which Fincher parallels Zuckerberg’s facemash assault with the Phoenix Club’s first party of the fall semester in their mutual misogynistic glory. As a scene of pure drama, it is a peerless piece of impossibly sleek film-making and damn near the best sequence in modern cinema.