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.

Review: The Artist

Rating: PG

Duration: 100 mins

Occasionally Hollywood will warm to a film that doesn't play to the rules of conventionality. In this instance, audiences are presented with a film void of dialogue, relying on visuals, music and action alone to drive the narrative. So accustomed are the mainstream to a reliance on such luxuries, they quickly disassociate with anything other than the confines of familiarity. However, Pixar's 2009 WALL·E proved that silence can indeed work, with the first 45 minutes of said film absent  of word.

A step further is to create a completely silent movie; something that Michel Hazanavicius boldly opts for with   The Artist. Certainly this isn't likely to appeal to the masses, but to more of a niche, whilst avoiding mainstream conformity, thus it naturally becomes optimal Oscar 2012 fodder. In fact, rumour of The Artist sweeping such awards isn't unthinkable with just how well made and refreshingly alternative it is.

Beautifully shot, it's no secret that Hazanavicius has constructed a touching and passionate love letter to the silent era: accomplished entirely with a monochrome sensibility, the entire film cannot help but exude absolute charm. You'll willingly find yourself encapsulated in the life of silent film star George Valentin (Jean Dujardin), as we follow his successful career before he meets up-and-coming talent Peppy Miller (Bérénice Bejo), who quickly becomes hot property as the newest face of the Golden Age as the era of sound beckons.

For such a premise to succeed, it's essential that the script is tightly and solidly written, which it is. It stands as quite an achievement that a feature length screenplay can withstand a lack of sound, as it is accompanied by a dynamically organised score that adds plenty of atmosphere and personality to each and every scene. In modern cinema, where attention spans are shortening by the hour, The Artist does a fantastic job at maintaining interest throughout, only dawdling upon a rare occasion with mild exploration of Valentin's self pity and contrasting downbeat nature.

The decline of silent cinema is poignantly expressed as we witness the deep despair expressed by George through various nightmare sequences: one particularly exquisite scene introduces subtle diegetic sound as he realises he is powerless in clinging onto something that will soon become obsolete. Such futile efforts build into a self-wallowing state of affairs, which take us through to a strong finale and eloquently poised resolve: a satisfying and whimsical sensation will be felt by the end scene, which forms a superbly nostalgic, wonderfully made and extremely likeable film.

In a year with some accomplished performances no doubt set for a battle for Oscars glory, it's perhaps fitting that one of the most prolific efforts here is from canine co-star Uggie. Not only is he trained to perfection as he meanders in and out of scenes with confidence, but also brings the real heart to the piece: cute in both appearance and action, Uggie serves to drive the narrative and provide a substantial amount of pleasure and laughs in an already winsome film. 

Tonally, and by its very nature, the film requires a certain self-conscious awareness. Subtlety and a degree of tongue-in-cheek endeavour to strengthen the brazen nature of (at times) complete silence and amusing intertitles, executed in a sublime fashion that possesses credibility, deeming it hugely rewarding to experience.

VERDICT: The Artist is undeniably one of the most charismatic and captivating films of the year. It delivers something completely alternative from mainstream repetitiveness: a narrative reliant on memorably charming performances, an inventive and consistently entertaining story, as well as a fantastic score; it retains a familiarity rendering it accessible to everyone. What's more, its poignancy allows audiences to embrace in an era gone-by and appreciate how silence really can be golden.

★★★★★

Review: Moneyball

Rating: 12a
Duration: 133 mins

Hot off the heels of his acclaimed script for The Social Network at this year's Oscars for his scribing efforts, Aaron Sorkin returns with American baseball tale, Moneyball. He's not the only respected affiliate with the project either, as Brad Pitt assumes the lead after an award-worthy performance in The Tree of Life.

Naturally, the theme of baseball is certain to appeal to American audiences, yet alienate others (i.e. the rest of the world), but Moneyball succeeds at not only being about said sport, as it captures the characters and sensibility of what is essentially a drama interspersed with sporting elements.

Based on the true story of Billy Beane (Pitt) as he attempts to rewrite the tactical and managerial style along with newly appointed brain-box tactician Peter (Hill), they commit to turn around the ailing fortunes of the Aukland A's. Beane risks his reputation, as well as his family, as he boldly and almost single-handedly redefines the game from a tactical and statistical point of view.

Upon failing to gain much of a nationwide release in comparison to Breaking Dawn Part 1 at a similar time, it instead relies upon word of mouth to draw in a rather specific, niche audience. Indeed, you will find the performances of the protagonists fantastically poised in relation to the aforementioned Twilight, with Pitt and Hill offering up their best career efforts to date. The Assassination of Jesse James and The Tree of Life revealed that Pitt can slot into roles that require a more depth and subtly as opposed to a Mr and Mrs Smith type. He handles the character of Billy Beane convincingly as he strays from the usual type casting he's received prior in his career. Hill breaks out of his comedy comfort blanket to play straight-up analyst  Peter, who begins to forge a trusting professional and personal bond with Pitt's Beane.

As expected from Sorkin, the script is witty, intelligent and snappy, as it entertainingly flows beyond the constraints of a sports-drama. Certainly character driven in nature, the story explores interpersonal relations, character complexities and dynamics, whether it is in the work space or at home with the family: it all feels strongly connected as a dramatic and interesting study on personalities rather than baseball.

For the majority it is easy to forget the primary aim of retelling the story of one man's brash tactics in the world of baseball, as the dialogue and layered characters drive the piece in a stand-out manner. However, the film as a whole does feel a little bit too long, especially during the final third when the deals are made, the season is over and the on-pitch action ceases. The ending is constructed a little too neatly as it slows down drastically as it approaches the two-and-a-half-hour mark.

Even though the final half hour of the narrative falters, it doesn't alter the enjoyment during the previous two hours: sharp, funny scenes allow audiences to warm to the characters, as a likeable story begins to shine through the locker room and corridors of the Oakland A's stadium.

Whilst the finals scenes wither, one notable point of mention comes in the middle of the action, as Billy and Peter take part in a snappy and superb office scene with a series of phone calls as they attempt to bluff and double bluff rival managers with various player deals. By its nature an entertaining few minutes, the clever writing and subtly gel well: one moment Billy will be offering a player to one team, then proposing a different deal to another seconds later, as Peter keeps another on hold in an attempt to offload to them. The scene is typified as deals swing their way as the closure culminates in a comical fist pump courtesy of the now confident Peter.

VERDICT: Moneyball is, for the most part, an engaging and pleasantly entertaining drama that encumbers the world of baseball without completely alienating a non-acquainted audience. Excellent acting strengthens the solid script, only marred by the latter stages that lose its initial spark and drags on too much.

★★★

Review: Las Acacias

Rating: 12a

Duration: 82 mins

In the event of winning the Caméra d'Or at this year's Cannes Film Festival, Pablo Giorgelli's low-key story of a lonely South American trucker was never going to penetrate the mainstream market, but seems to have made a dent amongst the critics.

Starring Germán de Silva as long distance trucker Rubén, one day he picks up a pre-arranged 'special cargo' on his journey from Asunción del Paraguay to Buenos Aires in the form of Jacinta (Hebe Duarte) with an unexpected addition of her small baby. 

The film plays out as a road movie, albeit it a subtle and, for the most part, silent one. Giorgelli insists on stripping the narrative to its bare bones, presenting us with delicately drawn out shots that offer real-time observations on the characters and the world around them. The extreme subtlety works in gradually layering a relationship between the two as it becomes difficult not to be swept along with the boiling passion and sadness buried within Rubén.

Tonally the narrative offers little in entertainment in the traditional sense. We see a mere exploration of human emotion and minimal interaction eloquently progresses as their trip does, but at an ultra slow pace: the lingering glances, prolonged interior car shots, the painstakingly slow pans all make it feel much longer than the 82 minute running time suggest.

The semi-nonchalant performances won't capture everyone's imagination, let alone attention, as Las Acacias has to be described as the ultimate slow burner, yet it's delightfully charming and inevitably rather touching, especially in its conclusion.

VERDICT: One of the most pleasant aspects of this is the inclusion of baby Anahi, in what is essentially a love story, as the toddler offers a charming and likeable addition to the tension and frequent silence of the adults, rendering Las Acacias an interesting film that won't suit all tastes, but suffices as an alternative choice.

★★★

Review: The Thing (2011)

Rating: 15

Duration: 103 mins

The film industry is in free fall. A bold, yet unspecific statement for sure, but when talking about the unoriginality in film-making, it suddenly becomes applicable. Nothing, it would seem, is sacred. Not even the classics - with a remake (of a remake) of Scarface in the works amidst numerous others - are safe. Even the ones that weren't commercially successful are inexplicably becoming hot property in the remake-stakes, which leads us onto Matthijs van Heijningen Jr. and his prequel of John Carpenter's classic, The Thing.

Providing you're familiar with the original, this new addition will strike as overly familiar  based on the trailer, thus seemingly pointless. For a prequel, the entire narrative feels spookily familiar to Carpenter's: the narrative plays out near enough the same, bar the beginning and the end, with some scenes simply replicating those we've seen that work far better with Kurt Russell, which begs the question: is this not more of a remake rather than a prequel? Lazily, it feels more like the former.

The script practically mirrors its predecessor aside from a team of scientists that discover an Arctic-buried spacecraft as a team of specialists are called in to assess the find before things inevitably turn ugly. Kate (Mary Elizabeth Winstead), is drafted in to team up with existing personnel, including Carter (Joel Edgerton), as the extra terrestrial is taken back to base for analysis. Cue typical run-of-the-mill sequences intended to scare and make audiences jump, yet fails to capture the close-quarters tension to much effect. Nor does the setting ever make you claustrophobic with its poor execution and somewhat stale setting. Furthermore, the brilliant paranoia of Carpenter's classic is dispelled, instead substituting it for cheap horror that doesn't quite hit the mark at any point. 

Interestingly, the film attempts to reinvent the male dominance in the Russell and co horror master class, asserting Kate as a Ripley-type lead. Not only that, but the patriarchal casting that perhaps seems dated today now includes obligatory female characters that merely serve as an aversion to sexism. Ironically though, Kate is typecast as the invaluable, but sexually desirable team member who is essential to the  point of investigation. 

The Thing encroaches on the original rather than making any real attempt to innovate as a worthy addition. Aside from its overt decision to empower women and under-use Joel Edgerton in a supporting role, it plays out a generic horror film, offering little in terms of genuine shocks or jumpy moments. An effort to evoke terror never builds any momentum as we are subject to various filmic references such as the familiarity of Alien in certain locations and (oddly) Jurassic Park of all things.

VERDICT: To approach The Thing as a standalone entry is the best way to look at it. Inevitably those who have seen the original will feel vastly underwhelmed and more often than not disappointed. It's an average horror film at best as it mildly entertains, but seems confused as to whether it is indeed a prequel or simply a disguised remake. 

★★