Review: J.Edgar

Rating: 15

Duration: 137 minutes

It's fair to deduce that the decades of being a film star have served Clint Eastwood well during his transition from on camera to behind it; a change that has seen him embark in more directing and less acting, especially over the past ten years.

With acclaimed titles like Mystic River, Million Dollar Baby, Gran Torino and Changeling to his name, it would seem the ageing maestro can do no wrong after what can only be described as a glittering acting career. Recent form has dipped though, following the drab, plod-along bore fest of Invictus that invites you to take forty winks after the opening minutes, and one mustn't forget Hereafter, which by comparison would induce you into a coma.

J. Edgar is a biographical drama based on the life the FBI's founder and first Director John Edgar Hoover, as his early life is documented with his rise through the ranks to power. From the beginning we are granted mere snippets of his childhood and early manhood where his mother (played by Dame Judi Dench), features as an overbearing, controlling matriarch that uncomfortably forces an opinion of a man renowned for privacy. 

Explored also is his private life and alleged romance with his Associate Director and esteemed friend Clyde Tolson (Armie Hammer), as both Edgar's personal and professional life are portrayed in detail with the use of flashbacks and flash forwards that are stylishly cut, yet overwhelming (especially in the opening twenty minutes) with the constant switch in time periods. In fact, these sporadic shifts can confuse and stifle the enjoyment somewhat as Eastwood over-ambitiously attempts to squeeze too much content into badly constructed plot. Other than the odd moment of confusion, the majority of the story plays out in a fairly digestible manner as we become familiar with the certain aesthetic of different time frames, thus following the narrative easier.

Arguably the biggest logistical problem - after all, this is a biopic based on real people and events - is that a lot of what we see in Edgar's personal life is simply speculation: the relationship behind closed doors with his controlling, assertive mother, social liaisons concerning his PA Helen (Naomi Watts), as well as the ongoing, supposed relationship with Clyde aren't based on any evidence. Juxtapose this with the fact-based events of Edgar's career, innovation, ideas regarding forensic evidence and so forth, it feels rather imbalanced in terms of an authentic depiction.

What is conveyed well are particular elements of the story, most notably the atmosphere that's created: scenes in restaurants, bars, clubs, character attire, all ooze 1930's gangster culture and the power hierarchy of the time. During such scenes, and indeed for the entirety of the movie, Di Caprio gives a strong, solid performance with a dynamic presence that essentially carries the film. Watts, Dench and Hammer provide good support too, with their character inclusion spanning most of the narrative's sixty or so years.

Whilst some biopics can feel laborious, this never becomes too strained and only really suffers in the conclusive stages in terms of sluggishness. For the most part J. Edgar is an entertaining film that is surprisingly accessible considering the subject matter and context, and aside from the sporadic time shifts, it's a simple tale in comparison to other film counterparts.

Unfortunately, as with a lot of biographies, the two hour seventeen minute length is a little over-long. In honesty, at least thirty minutes could be cut and the audience would be none-the-wiser, with the film perhaps being too sentimental at times, whereas it might have benefited from a slicker and more direct pacing.

Apart from the clumsy manner in which Edgar and Clyde's relationship is handled, other personal relations flow smoother and the material Eastwood uses is handled well, if not subjective. Not that the exploration of a gay relationship is anything to frown up, but when it is constructed as awkwardly as it is here, not to mention the fact it's not based on any proven truth, it ends up providing the piece with mere invented frivolity, whereas focusing on Edgar's success within the FBI would have made for a more interesting study.

VERDICT: J. Edgar is a solidly made and pleasant film to experience. Eastwood directs to his assured and more than competent ability, but struggles to squeeze his enormous amount of source material into the already lengthy duration, instead opting for a rather selective approach. Di Caprio offers a confident and sparkling performance alongside Watts and Hammer, but some story threads feel a little forced, especially as the moments intending to emotionally evoke are based on sheer speculation rather than fact (this is a biopic after all). It's surprisingly accessible, if not a little disorientated with its interjected scenes and, due to the way certain parts are executed, doesn't engage with us as much as previous efforts.

★★★

Competition: Win Thor electronic action figure worth £35!

Whilst 2011 was a packed year for comic book/superhero movies, it wasn't always in the most positive of lights (just look at Green Lantern for example). There were also some very average attempts such as Captain America, but there were some solid efforts such as X-Men: First Class.

However, the biggest surprise was Thor: starring Chris Helmsworth, Tom Hiddlestone, Anthony Hopkins and Natalie Portman. The Marvel hero flick, directed by Kenneth Branagh, was a well made, funny and entertaining film.

So to celebrate Thor as my FAVOURITE SUPERHERO FILM OF 2011, The Littlest Picture Show have teamed up with Hasbro to give away a fantastic prize:

THE PRIZE:

Thor Electronic Figure

The Thor Electronic Figure stands at an impressive 10” tall with its supremely sculpted and detailed design. Featuring electronic phrases and sound effects from the movie, as well as a light up hammer and additional battle accessories, this Thor figure is a great addition to every fan’s collection!

(Prize RRP £35)

HOW TO ENTER:

STEP 1: FOLLOW me on Twitter here and TWEET the following:

COMPETITION: WIN THOR merchandise worth £35! RT & FOLLOW @littlestpicshow to enter! Details here: http://tiny.cc/tpkjj #competition #film


***Multiple Twitter entries are welcome and will be tallied when it comes to the draw!***

STEP 2: Follow this blog (click 'follow' at the top left of the page) to keep track of my latest reviews, articles & future competitions!

NOTE: If you are not on Twitter or signed up to Blogspot, then you can simply email the above quote to mike@thelittlestpictureshow.co.uk with 'THOR COMPETITION' as the subject title.

TERMS & CONDITIONS:

Entries must be in by February 21st .
The winner will be selected and notified February 22nd.
Open to UK residents only.
No cash alternative.

9 Awesome Movie Posters

Interview: Ryan Gosling talks Clooney's pranks, Drive, future projects & his band

With the imminent release of a trio of Ryan Gosling films (Crazy, Stupid, Love and Drive are due out at the end of January), The Ides of March is not only his first politically focused role, but his first encounter with legendary talent (and prankster) George Clooney.

The following is an interview with Ryan Gosling from September of last year: 


What can you tell about your character Stephen Myers, that young idealist campaign strategist working for a democrat governor hoping to gain the nomination of his party in the next presidential race?

I think he is well intended and wants to affect the changes in the country and he is faced with that moral dilemma with his candidate [played by George Clooney ], and so he does the dishonourable thing which is to jump ship so he can eventually get into the White House and affects change. He severs his heart from his brain at a certain point and struggles and fails to connect.

How toxic do you think it is to be involved in politics and power?

Pretty toxic even though I was not that involved in the world itself. Just the filming. The thing I like about the film is that it’s set in this political world but you don’t really need to know much about politics in order to enjoy it. It could be set in Hollywood or on Wall Street for that matter.

Do you see a parallel in the movie with Hollywood? Is it hard to keep ones integrity through the process and to make it?

I think it’s very hard to be honest for the jobs. You can’t really tell the truth because everything you say is cut off, taken out of context. You have to be careful about what you say. So I related to the character in that way.

Did you ask George why he chose you?

Well he said he chose me because everyone else said no! No one else was available! But that’s fine with me.

Did you see his previous films as a director?

Yes and I loved them. It’s interesting: I was on a plane right before I went to do The Ides of March. In the classics category for movies on the little screen in the seat, there were five: 2001, Citizen Kane, Good Night, and Good luck and 2 others. And I thought whoa. With only having made three others, he’s made an impact. More than anything I love his television shows. Unscripted was incredible. The style and originality. Very experimental.  So strange. And K Street is one of my favorites.

Describe George Clooney as a director?

Well, he’s very specific and he knows exactly what he wants. There are not a lot of ambiguity in his decisions and directions.

How different is it to be directed by a director who is also an actor?

It did not feel that different. When he was directing, he was able to kind of compartmentalise to a degree which was interesting. But he was doing so much you know. It’s his project. He co-wrote it, directed it, produced it, and starred in it. At the same time he is checking the situation in Darfur on his cell phones. And he has twenty, at least ten practical jokes in the works at all time. Multitasking you know!

George’s inspiration was some of the iconic seventies films like Network, The Candidate or All the President’s Men. Did he ask you to watch those or others to get a feel of what he wanted?

Actually he didn’t. He had us watch a lot of documentaries not those films. He didn’t specifically ask although he referenced them a lot while we were making it. I guess he just assumed we had seen them and did not want to live in a world where we hadn't!

He is famous for playing pranks. How did you deal with it? Did you have to be on the alert all the time?

Yes you do have to be on the alert all the time.

Did he get you?

Yes he did.

Did you get him back?

No. It’s impossible.

What do you think the reaction for the public and political world to Ides of March will be?

I have no idea. I don’t think George was making a political statement or that the movie has a political message but I do think he was interested in starting a dialogue. And it will be interesting to see what that dialogue is.

What does the poster represent for you? Those two faces, yours and George’s characters kind of blending…maybe means that in the end, it doesn’t really matter who is the president?

No, it says that George Clooney is trying to show how much better looking he is! My mother saw that and called me. She was so excited and said “You are on the cover of Time magazine”! But I told her it was just the poster for the movie!

How different is it for you as an actor to play a silent type character like in Drive, compared with Ides of March where you have so much dialogues? What do you like more as an actor?

They were different experiences and each offered something different. A kind of balance. I feel there is something nice about not talking. Like you can say more by actually saying less. It’s nice to have space in the film and the silence. So, it’s much rarer to be able to work that way. I enjoyed it.

How was it working with Nicholas on Drive?

We are just wildly different guys but I think we share a brain. I’ll have an idea and he’ll have the exact same idea. When we first met, I had the feeling that the film should be about driving and not about driving fast but just the actual experience of driving, sitting in your car listening to music. The first thing he said to me was that this movie should be about a guy driving around in a car around listening to music. The only way he knows how to feel and I thought how can I be so different from this person and at the same time we are sharing the same dream. Right now we are trying to exploit that…

What is next for you?

Right now I am working on The Gangster Squad, a 1950’s gangster picture, with Sean Penn who is playing the mobster Mickey Cohen, Josh Brolin, Emma Stone, Robert Patrick, Michael Pena… A great cast.

How is it to be working with such amazing actors?

Scary! A lot of them are my favorite actors in some ways, so it was a huge opportunity for me and they all have very different styles in the process so it was interesting to have to go between those processes with them.

You seemed to have been working no stop, you are everywhere, the “It Boy” of the moment. How changed is your life with all that attention?

Well I am pretty sick with myself! It seemed a pretty good idea at the time. Around the time I turned 30, I started to feel very creative, more creative than I had been before which is good and I like that.

Is directing something you would like to try?

Sure. Yeah. I have plans. But I’ll wait until they happen because something could always interfere…Like checks I can’t cash.

How different is the pleasure of acting for you today compared to when you started?

Yes it’s different. I am at a point where I want to work with the same filmmakers over and over. I used to have a whole list of guys I wanted to work with but I am at the point where I want to work with the same ones. I have been really lucky between Derek Cianfrance (Blue Valentine) and Nicholas Winding Refn (Drive). I just finished another film with Derek called Beyond the Pines and it was the best experience of my life and I can’t wait for people to see it. Derek is a very special filmmaker. It is very different from Blue Valentine and the performances are great. Bradley Cooper; people are not going to believe how great he is and Eva Mendes; it is the best performance I’ve been around to see.

You recorded an album two years ago with your group. What are your tastes in music?

I grew up listening to a lot of fifties and sixties. That’s what was in our house. Buddy Holly, Del Shannon, The Shangri Las… It gave me a taste for that style of music. And I still listen to those a lot.

We have to know: what car are you driving?

Oh, I’m driving my car from Drive!

The Ides of March will be reviewed next month ahead of its Blu-ray & DVD release.

Review: War Horse

Rating: PG
Duration: 146 mins

With the release of War Horse comes a new year. It's a film that will conveniently be fresh in everyone's mind just in time for Oscar season. Do not mistake intention for coincidence, mind, as Spielberg emerges from a successful 2011 with Tin Tin to begin the year with his adaptation of the beloved 1982 novel penned by Michael Morpurgo, as well as the acclaimed theatrical play of the same name.

However, one must take into account that this is based on a children's book, and the content is just that: from the off-set Spielberg plays it overly safe, with too many scenarios that feel anything but threatening or genuine, as the glossy construction of the backdrops and lighting remind us that we're in the midst of a movie world. 

The translation from page to big screen can debatably be deemed successful. Indeed, War Horse will entertain and appeal if you are visiting the cinema with the family on a care-free Sunday afternoon, whom have the capacity to embrace the unadventurous, secure nature of the story. If you don't fall into such a category and plan on seeing this as a precursor to a Friday night pub visit, you'll end up so deflated that you'll skip the beers and head straight home to weep in the corner of the utility room.

Undoubtedly, Spielberg shouldn't be discredited for a decade-long dip in an otherwise glittering career, either; renowned for directing some of the most enchanting movies of the 20th Century, his ability is unquestionable, yet his latest epic feels as if it's simply going through the motions. It relies upon an unadventurous audience happy to embrace Spielberg on reputation alone, who will watch in awe as he constructs a mundane and continuously safe narrative, and one that never once strays into even half-daring territory.

The biggest problem, aside from Spielberg showing his dealt hand right from the beginning is the drab pacing as, considering the 146 minute length, it noticeably drags. Furthermore, the characters he gives to us are so one dimensional that we never even begin to engage with or relate to them.

Having said that, War Horse is competently directed and produced: some visual aspects looks delightful thanks to some wonderful cinematography and a compelling, if not memorable score courtesy of John Williams adds for some atmosphere, but it never ventures from its overtly constrained boundaries, nor does it change into a higher gear when it needs to.

Arguably the best scenes are the ones that focus on the physical nature of war: the build up to enemy encounter as troops emerge from the WW1 trenches is vaguely reminiscent of Saving Private Ryan, which is where the similarities end. These well produced segments are unfortunately weighed down with an uneventful narrative and whimsical characterisation that plods along, as it fails to convince.

Emotionally, the acting never quite connects, as we are gifted an ensemble of British talent such as Peter Mullan, David Thewlis, Benedict Cumberbatch, Tom Hiddlestone and lead, Jeremy Irvine, but instead feels like a who's-who merely fighting for advertising space. What doesn't translate particularly well is how an emotionally complex, caring protagonist is demonstrable through the eyes of a horse. Unwisely, Spielberg decides to force physical expression and emotion where it simply cannot and should not exist: one memorable shot sees Joey (the horse) turn to glance behind him; a sad glint in his eye, followed by a troubled grimace. Priceless. Possibly a bad case of wind, but either way such portrayal doesn't bode well if one is to believe the story and buy into it without it appearing ridiculously contrived.

In short, we never witness any genuine danger or conflict: the entire film fails to challenge its audience, instead relying on family-friendly securities with a horse’s plight that seems impervious to harm as virtually everyone emerges unscathed: it's too damn considerate for its own good.

VERDICT: War Horse is typically classic in its Spielbergian storytelling, but never builds any momentum. At times it is pleasant and can be perceived as enjoyable on the most basic of levels. It boasts a talented cast that aren't utilised in a movie that gracefully, yet safely translates as a largely uninspiring tale. Ultimately it's far too comfortable and lazy, and Spielberg knows it.

One final note: look out for the comic relief in the form of a farmyard goose: a real contender to pip The Artist's Uggie the dog to the accolade of Most Charming Performance by an Animal.

Top 5 film trailers of 2011

Trailers are out first real glimpse of a film upon its completion, which can heighten anticipation to the point of ecstasy or disappoint to the lowest depths of despair. Sometimes they work perfectly as a precursor to a sublime film, or, as is the rarity, the trailer can completely misdirect and sell you something it isn't. 

Sometimes it backfires, too: with clever editing, a rubbish film can appear great, and similarly a great film can seem bad. Anyway, here are my top 5 of 2011...

#5 TAKE SHELTER 

Michael Shannon and Jessica Chastain star in this eerie-looking, character driven drama. The odd nature of it builds, making for an utterly captivating story.

What the trailer evokes: Paranormal intrigue and mystery. You're instantly hooked by Shannon's subtle, awkward performance.

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#4 THE DARK KNIGHT RISES

A lot of people are already touting this as their film of 2012 and whilst the trailer is fantastically cut to the typical Nolan standard, it isn't the best I've seen in the past 12 months.  Still great, though: Hardy looks terrifyingly muscular and Hathaway looks devilishly attractive.

What the trailer evokes: Fear, Nolan epicness and the topical fight against terrorism.

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#3 PROMETHEUS

Ridley Scott is finally on board and back to his sci-fi roots with something that clearly pays homage and feels  like Alien, even down to the title font. It looks scary as hell and if it's anything like the aforementioned, then we're in for one hell of a journey.

What the trailer evokes: A modern day Alien movie to chill, that'll also make you feel warmly nostalgic inside.

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  #2 THE GIRL WITH THE DRAGON TATTOO

David Fincher knows how to make a thriller. This is so slickly and sharply edited you can't help but be utterly drawn in. The music fits perfectly with the entire thing edited around it. Brilliant stuff.

What the trailer evokes: Style, substance, intelligence, thrills. It's goddamn cool.

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#1 TINKER, TAILOR, SOLDIER, SPY

This has to be the best trailer of 2011. It's brilliantly made in every way: the music is its main strength, followed closely by the mystery, pacing and tantalising nature of a spy thriller.

What the trailer evokes: A superb set up. Unbelievable tenseness. Buckets of atmosphere. Fantastic.

Review: Shame

Rating: 18

Duration: 101 mins

The breakthrough of 2011 may be awarded to Ryan Gosling, but dismissing the competition would be a vast oversight. Appearing in no less than five movies over the past year, including X-Men: First Class and Jane Eyre, Michael Fassbender is without doubt one of the brightest talents to emerge as of late.

Following on from Steve McQueen's acclaimed début drama, Hunger, Michael Fassbender and Carey Mulligan star in his latest efforts about a New Yorker and his inner battle with sex addiction.

The adult-themed, intense story of Brandon (Fassbender), exists in a very private, sordid and emotionally isolated life as he indulges in his addiction until younger sister Sissy (Mulligan), turns up unexpectedly seeking somewhere to stay. Suffice to say Brandon is not keen on the invasion of his personal space, as McQueen depicts the, at times, explosive co-existence of the siblings as their troubled lives collide with severe consequence.

Fassbender issues a powerful and very accomplished performance as his character swings from charming to   brooding; kind and considerate to overtly aggressive, with a genuine volatility of a person constantly battling with his demons at every turn: whilst on the outside he appears to be pleasantly suave when it comes to the opposite sex, his sexual depravity and obsessive womanising more often than not takes over.

Mulligan also offers a fine performance as Sissy, who seems to be the element that pushes Brandon to the brink as he tries in vain to submerge his problems from those closest to him as well as himself. In fact, both actors work superbly together as we are exposed to moments of supportive embrace, followed by extreme resentment, which adds genuine intensity to the situation.

Steve McQueen delivers an accomplished film that delves into the emotionally complex lives of Brandon and Sissy. He captures the essence of the city they inhabit, notably through such scenes as a late night jog that literally tracks Brandon through the rich diversity of the streets: it lasts for a while as a continuous shot and is a delight to watch. McQueen also oddly manages to convey a somewhat conflicting, yet engaging view of Brandon: the semi-glamorous lifestyle of a liberal bachelor, versus the painfully damaged deviancy that allures him on a daily basis.

It's no shock to learn that there are several explicit sexual scenes that are key to the plot, but then were you expecting anything else? The close-up reveal of  Fassbender's penis within the opening few minutes is an indication of things to come, as the narrative takes us through his day-to-day endeavours: Internet pornography, prostitution, as well as a frontal snippet of Mulligan's torso, yet is contextually in keeping with  the story without feeling contrived or frivolous. 

Amongst several beautifully shot scenes, perhaps the one that stands out more than any is Sissy's rendition of New York, New York: it encompasses the heartfelt sorrow of her character. It also tonally defines the film itself, as she treads ever so carefully through the song, with a prolonged shot of her eclectic, impassioned face for the entire duration: McQueen certainly knows how to engage his audience and capture the mood to striking effect.

It's a shame (no pun intended) that this character driven piece will be swept aside come the Oscars: it's far too brash and overt to fit in with the conservative conformity of the committee, yet hopefully won't devalue its worth and merit as a great film.

VERDICT: Shame is a fascinating character study of a man plagued by insecurity and an inability to emotionally relate to, well, anybody. A dark, and arguably seedy story, given a sense of elegance, class and beauty by director McQueen, allows Fassbender - and Mulligan to a lesser extent - to resonate in their roles. The explicit nature of the film will undoubtedly turn some viewers away, but be sure of one thing: these will be the ones missing out on something well worth the ticket price.

Review: Best of 2011

So 2011 has proved another interesting year for the film industry. There have been highs, lows, massive disappointments, as well as the utterly bizarre (I'm looking at you Tom Six). It's proven difficult to select a top 10, as there were some great films that just missed out.

Honourable mentions

WARRIOR
KILL LIST
I SAW THE DEVIL
50/50
SUPER 8
THE SKIN I LIVE IN (right)

Top 10 of 2011

#10 TRUE GRIT (dir. Joel & Ethan Coen)

A different direction for the Coen's as they tackle the challenge of a remake, but stick closely to the Portis novel. Bridges and Damon are excellent, but newcomer Hailee Steinfeld is sensational. As always, cinematographer Roger Deakins makes it all stunningly beautiful to watch, too.

#9 CONFESSIONS (dir. Tetsuya Nakashima)

This slick and stylish Japanese thriller cum mystery is somewhat of a hidden gem of 2011. The fascinating story of child killers with overarching themes of revenge makes this a fantastic alternative film from the blockbusters.

#8 TYRANNOSAUR (dir. Paddy Considine)

Paddy Considine's début directorial feature is gripping, raw and unforgiving. Stunning performances from Colman and Mullan make it truly unforgettable.

#7 THE TREE OF LIFE (dir. Terrence Malick)

Recluse Terrence Malick returns after a six year hiatus with this visually stunning depiction of, well, everything from the creation of the universe, to the extinction of dinosaurs, until he focuses on the O'Brien family in the 1950's. One of those rare films that had critics praising the socks off as well as audiences walking out half way through.

 #6 SUBMARINE (dir. Richard Ayoade)

Another début from another Brit: this time Richard Ayoade for his quirky and quaintly touching comedy drama about 15 year old Lloyd as he embarks on love, romance and a determination to split his mother and her resurfaced lover up for good. Likeable, funny, sad and evocative: Submarine is an accomplished first-time effort.

#5 TAKE SHELTER (dir. Jeff Nichols)

Michael Shannon and Jessica Chastain provide one of the strongest combinations of the year. A superb social-commentary about a man with mental illness; there are multiple layers to explore. An underrated film, that's for sure.

#4 SENNA (dir. Asif Kapadia)

The sole documentary in the list, Senna is a finely crafted and slickly edited doc from Asif Kapadia. Hugely emotive and poignant, you'll be a strong character not to shed a tear. 

#3 THE ARTIST (dir. Michel Hazanavicius)

Black and white. Silent. European. Not destined for commercial success, but it should be. Every aspect is astounding: the acting, cinematography, story, score, direction; The Artist is the charmer of the year, and I haven't even mentioned Uggie the dog.

#2 RISE OF THE PLANET OF THE APES (dir. Rupert Wyatt)

The biggest surprise of 2011 and the strongest summer blockbuster of them all. Andy Serkis proves that not only has motion capture advanced with the help of WETA, but that you don't need to actually appear in a film to steal it.

#1 DRIVE (dir. Nicolas Winding Refn)

A film I simply could not get out of my head from the moment the opening scene kicked in. Winding Refn's ultra cool, ultra stylish, ultra violent, minimalist, retro art house thriller ticks all the boxes. The soundtrack is just a little bit good too.