Genre: Drama

Legend (2015) – Film Review

/ Joe Baker / 1 Comment

“Me and My Brother, We’re Gonna Rule London!” – Ronald ‘Ronnie’ Kray

Recognised as some of the most notorious gangsters in British history, Ronald ‘Ronnie’ Kray and Reginald ‘Reggie’ Kray were identical twin brothers and the foremost perpetrators of organised crime in the East End of London during the 1960s. With the help of their gang, known as the Firm, the Krays were involved in numerous murders, armed robberies, protection rackets, arsons and assaults. And, in 1965, as West End nightclub owners, the Krays even mingled with politicians and prominent entertainers, subsequently becoming ’60s icons themselves before both brothers were ultimately arrested and sentenced to life imprisonment in 1967. Therefore, even if the twin crimelords were convicted murderers, their rise to power was ripe for a cinematic interpretation, and 2015’s Legend more than succeeds in converting the brothers’ riotous downfall into an enthralling biopic, thanks largely to Tom Hardy’s mesmerising dual performance.

Plot Summary: Identical twins, Ronald ‘Ronnie’ Kray and Reginald ‘Reggie’ Kray, have risen through the ranks of the criminal underworld in 1960s London, with Ronnie advancing the family business through violence and intimidation, while Reggie struggles to go legitimate with his girlfriend, Frances Shea. But, with Detective Superintendent Leonard Read hot on their heels, Ronnie’s unpredictable tendencies along with the slow disintegration of Reggie’s relationship, threaten to bring the brothers’ criminal empire tumbling to the ground…

Written and directed by Brian Helgeland (Payback, A Knight’s Tale, Man on Fire), Legend is partially an adaptation of the true-crime book; The Profession of Violence: The Rise and Fall of the Krays Twins by John Pearson. I say ‘partly’ as the film (unlike the book) begins well into the Kray’s criminal career, steering clear of the twins’ East End childhood, their early days as boxers or their time spent behind bars during National Service. Even the pair’s beloved mother, Violet Lee Kray, is barely glimpsed outside of one or two scenes, seemingly unaware of her boys’ violent actions. And whilst this could be seen as a positive, as Legend doesn’t waste any of its runtime on frivolous flashbacks to the twins’ adolescence, it could also be seen as a negative, as I feel that witnessing the Kray’s childhood would’ve provided a clear view of their personalities before their rampant path of butchery began.

Taking on dual roles for the film, Tom Hardy had thirty-five filming days in which he had to portray both brothers, meaning Hardy would have to film scenes as the twin who had the most dialogue first, then return to hair and make-up to be transformed into the opposing twin. Originally, Hardy was only offered the role of Reggie, but Brian Helgeland was persuaded to let Hardy tackle the role of Ronnie, as well. I’d say this was for the best, as Tom Hardy taking on both roles not only adheres to the idea of the Krays being identical twins, but truly allows him to display his full acting range, continually upstaging himself as he switches from brother to brother on a dime. The rest of the cast, including Emily Browning, Taron Egerton, Paul Anderson, David Thewlis and Christopher Eccleston, is also marvellous in their supporting roles, whether they are in pursuit or service of the Krays.

Exceedingly lavish in its presentation, Legend often possesses the tone of an American gangster epic like Goodfellas and Casino, despite being so distinctly British, contrasting its bloodletting and depravity with elegant shots from cinematographer Dick Pope, in addition to plenty of wonderful set-dressing as the film was shot almost entirely on location, with very few sets used. The camerawork also allows for a few long takes, with Reggie and Frances’ first evening out together being one continuous five-minute and forty-second shot.

When it comes to the original score by Carter Burwell, tracks such as Legend, Elegy for Frances and Your Race is Run, serve their purpose effectively as part of the narrative. The main focus of Legend‘s soundtrack, however, is the film’s long list of recognisable songs, which further help cement the story within the 1960s time period. And whoever compiled this soundtrack clearly has a great deal of expertise in that area, not only in selecting songs that one would hope to hear from a film set in the swinging sixties, like Green Onions and Cissy Strut, but also in selecting long-forgotten gems.

From costumes to vehicles to props, the production design throughout Legend is again nothing short of exceptional. To the extent that even Ronnie and Reggie’s tailored suits are almost indistinguishable from the suits the twins wore in real life. Additionally, the utilisation of digital compositing and body doubles for whenever two versions of Tom Hardy are required on-screen at one time rarely has a faulty moment, auspiciously tricking the audience at multiple points.

In summary, while most will agree that any glorification of real-world criminals is questionable, with Legend often having a mythologist and, at times, even romanticised approach to its low-life protagonists, the film is a well-crafted biopic, nonetheless. Through its retro style, brilliant production design and copious comedic moments, Legend is a solid crime-drama even in spite of its occasionally overblown scenes or on-the-nose song choices, such as Chapel of Love for Reggie and Frances’ wedding. But, the main reason to watch Legend is unquestionably the spectacular dual performance from Tom Hardy, who confidently steals every scene he appears in. Rating: 7/10.

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Adult Life Skills (2016) – Film Review

/ Joe Baker / 1 Comment

Based on the BAFTA-nominated short: ‘Emotional Fusebox,’ which premiered at the London Film Festival in 2014. ‘Adult Life Skills’ is the directorial debut of writer and director Rachel Tunnard, who was primarily an editor before writing and directing the original short film. And whilst Tunnard’s lack of experience in these duel roles is evident, now and then, as this low-budget coming-of-age comedy-drama hardly breaks new ground when it comes to its respective genres. The endearingly quirky story, distinctly British charm, and august performance from Jodie Whittaker all make ‘Adult Life Skills’ well worth a watch.

Plot Summary: Deeply grieving from the death of her twin brother, twenty-nine-year-old: ‘Anna’ spends her days living in her mother’s shed, retreating into herself as she makes videos using homemade props and her thumbs as actors. But on the eve of her 30th birthday, ‘Anna’ meets a troubled little boy going through the same life-altering experience she did, a boy who may be the answer to getting her out of her year-long slump…

Originally titled: ‘How to Live Yours.’ ‘Adult Life Skills’ had its first appearance at a film festival just as its predecessor did, only this time around, it was the 2016 Tribeca Film Festival, where Rachel Tunnard quickly won one of the top awards: the Nora Ephron prize for best female director. Yet, in my opinion, much of the allure of: ‘Adult Life Skills’ comes from its screenplay rather than Tunnard’s direction, as the dialogue is continuously both witty and dramatic, balancing moments of laughs and tears without ever feeling disjointed or unnatural, amplifying the film’s feeling of solace and upbeat tone thanks to its homespun, playful aesthetic.

Jodie Whittaker, who reprises her role from ‘Emotional Fusebox,’ portrays ‘Anna’ magnificently, rapidly jumping from one emotion to another as ‘Anna’s method of grieving often manifests in her hiding away from her own life, locking herself inside her mother’s shed as she cherishes her brother’s old clothes and watches videos the pair made together during their younger days. Essentially, ‘Anna’ is a character whose growth has been stunted by grief, and the story explores this concept of a person growing into adulthood with a piece of their identity personified in a lost sibling brilliantly, an idea that is only enhanced by Whittaker’s sublime performance. Needless to say, it takes her mother’s grumbling, her grandmother’s wisdom, and her best friend’s guidance to help bring her back into the real-world, restoring her life to what it once was, and the supporting cast of Lorraine Ashbourne, Eileen Davies and Rachael Deering all do a great job of bringing these characters to life, despite some of the side characters being woefully underdeveloped.

One advantage ‘Adult Life Skills’ has over many other British stories is its setting, as the film truly feels as if it couldn’t be set anyway else. Breaking away from the typical locations where stories within the United Kingdom tend to be set such as London or less commonly Manchester/Birmingham, in exchange for the remote Yorkshire countryside, a unique location that even helps to redeem the film’s over-reliance on hand-held techniques when it comes to the cinematography by Bet Rourich. As Yorkshire has more than its fair share of natural beauty, even when the weather is gloomy.

Although there is no original score for the film, most likely due to budgetary restrictions. ‘Adult Life Skills’ does feature a number of songs both well-known and obscure. From ‘Jesus Came to My Birthday Party’ to ‘You Lost Sight on Me,’ ‘Champions of the River Nile’ and ‘Here I Go Again,’ every song that can be heard throughout the runtime fits the tone remarkably well, never once feeling inappropriate or unsuitable to the specific scene they are featured within.

In addition to being a comedy-drama, ‘Adult Life Skills’ makes a few (unsuccessful) attempts towards being a romantic-comedy, as one of: ‘Anna’s close friends, the soft-spoken, estate agent: ‘Brendan’ portrayed by Brett Goldstein, persistently speaks to ‘Anna,’ trying to impress her with his comforting charm and handmade gifts. His efforts are ultimately pointless, however, as ‘Anna’s jading reactions to his kind gestures are on account of: ‘Anna’ believing ‘Brendan’ is gay. And whilst this misunderstanding does result in a winsome relationship, this subplot suffers due to not being given enough attention, as the story instead places far more emphasis on ‘Anna’s relationship with her mother and the young boy: ‘Clint,’ who is surprisingly well portrayed by the then eight-year-old actor Ozzy Myers.

In short, ‘Adult Life Skills’ is a film that wears its oddball eccentricities on its sleeve. Tackling weighty themes of grief, loneliness and dealing with one’s emotions, while simultaneously never losing its optimistic outlook. In many ways, ‘Adult Life Skills’ is an undemanding film for those in need of something comforting, an easily watchable comedy-drama that is sure to put a smile on most viewers’ faces, even in spite of its overly familiar ideas. Still, there’s no denying that Jodie Whittaker is the best thing about ‘Adult Life Skills,’ as whenever the screenplay is lacking, Whittaker appears on-screen with confidence, fleshing-out ‘Anna’ as a sympathetic character and ensuring the audience remains emotionally invested in what is occurring narratively. Final Rating: 7/10.

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Captain Phillips (2013) – Film Review

/ Joe Baker / Leave a comment

The story of Captain Richard Phillips, the Massachusetts seafarer who was kidnapped by four Somali pirates during a routine cargo ship excursion, took the world by storm in 2009, as the then fifty-four-year-old captain was taken hostage, threatened and beaten for over five days before being rescued by Navy SEALS. So, it was inevitable that a film adaptation would soon be in the works once Phillips returned home, and who better to direct the film than Paul Greengrass (The Bourne Supremacy, United 93, News of the World), a director well-known for turning real-life catastrophes into gripping yet still reverent thrillers.

Plot Summary: Assigned the dangerous task of navigating the unarmed cargo ship: Maersk Alabama, from Oman to Mombasa, Kenya. Captain Richard Phillips and his crew soon see their worst fears become reality when an opportunistic gang of armed Somali pirates seize the American vessel, threatening the crew and demanding a ransom of millions…

Based on the book: ‘A Captain’s Duty: Somali Pirates, Navy SEALS and Dangerous Days at Sea,’ which was written by Richard Phillips shortly after he returned home. Greengrass’ fast-paced and true-to-life treatment of the story fully realises the tense scenario that Richard and his crew once found themselves within, with constant shouting, overlapping dialogue and threats of violence, no one aboard the Maersk Alabama ever truly feels safe, not too dissimilar to the director’s other delves into real-world tragedies with ‘Bloody Sunday’ and ‘United 93.’ Yet interestingly, Greengrass wasn’t actually the first choice to direct, as Ron Howard was originally supposed to direct the film before he eventually left the project to peruse another 2013 biopic: ‘Rush,’ leaving Greengrass to head ‘Captain Phillips.’

Leading the cast through his resilient performance as Captain Richard Phillips, Tom Hanks does a phenomenal job throughout the film, quickly ensuring the audience emphasises with Richard’s struggle as he internally confronts the idea of never seeing his family again. Upcoming actor Barkhad Abdi is equally remarkable in his role as Abduwali Muse, the captain of the Somali pirates, as despite the actor’s small physique, Abdi is immensely menacing, asserting dominance over the crew in nearly every scene he is in. Even the iconic line: “Look at Me! I’m the Captain Now,” was an ad-lib by Barkhad Abdi. Abdi’s performance is also helped by Paul Greengrass’ strong direction, as Greengrass represents the Somali pirates more as common criminals rather than terrorists, presenting each of them with an element of desperation behind their actions as if they taking part in illegal and violent schemes in the hope of having a better life in Somalia.

Shot in an almost documentary-like fashion, the cinematography by Barry Ackroyd is both chaotic and fluid, constantly switching focus from one actor to another without hesitation, truly emphasising the panic and tension we see unfolding on-screen. However, whilst this approach is extremely effective when it comes to sequences of the pirates/crew negotiating or being held at gunpoint, the relentless persistence of the hand-held shots does start to become tiresome the further the runtime continues, and especially during the story’s quieter moments, such as the film’s opening scene where Richard and his wife Andrea drive to the airport. Nevertheless, this style of camerawork is in-character with much of Greengrass’ other work, as there’s no denying the director has a fixation with shaky, intimate close-ups.

Furthermore, the original score by Henry Jackman greatly adds to the film in more ways than one, as tracks like ‘Second Attack,’ ‘End This Peacefully’ and ‘Two in the Water’ are both foreboding and fast-paced, utilising an endless stream of percussion, sampled strings, occasional ethnic wind solos, and synthetic horn pads that fade in and out, while the film’s final track: ‘Safe Now’ sounds considerably hopeful in comparison. Yet this positive outcome is quite surprising, as, during the film’s production, the soundtrack was a fairly problematic area, with legendary composer Hanz Zimmer initially being attached before backing down from the project after Greengrass continuously bombarded him with demands for rewrites of the score.

Another impressive aspect of: ‘Captain Phillips’ is its set-design and set-dressing, as although a large portion of the film was shot aboard a real cargo ship, all of the interior lifeboat scenes were filmed inside a replica that was on water at all times, which according to Tom Hanks, resulted in him being vomited on by numerous crew members while inside the cramped space. But as disgusting as that may be, it may have been worthwhile, as this enclosed set is where a majority of the film’s third and final act takes place, as the hostage drama transfers to the claustrophobic confines of a hijacked lifeboat floundering toward the Somali coastline, where the story somehow becomes even more nail-biting.

In conclusion, ‘Captain Phillips’ serves as not only a well-executed, edge-of-your-seat thriller, but also a terrifying reminder of the real-world horrors that lie just outside our front door. With a pair of astounding performances, an intricately crafted original score and a plethora of tense moments, ‘Captain Phillips’ prolonged final act and occasionally ill-suited camerawork hardly diminish what is one of the strongest entries into Greengrass’ filmography in addition to an excellent biopic for Captain Richard Phillips and his courageous crew. Final Rating: low 8/10.

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Please Stand By (2017) – Film Review

/ Joe Baker / 1 Comment

While in years gone by many films surrounding the subject of autism have been seen as overly simplistic or even offensive, with Hollywood often treating characters with ASD like an immeasurable burden upon their entire family, every now and then we receive a film which presents its autistic character (or characters) with respect and authenticity alike, with 2017’s ‘Please Stand By’ being one such example. Directed by Ben Lewin (Georgia, The Sessions, Falling for Figaro) and based on the 2008 play of the same name by Michael Golamco, ‘Please Stand By’ may hit many familiar beats for a coming-of-age comedy-drama, but with an excellent cast and a subtle sci-fi twist thanks to its focus around all things ‘Star Trek,’ ‘Please Stand By’ manages to keep its story diverting throughout its brief runtime.

Plot Summary: When ‘Wendy Welcott,’ a young autistic woman with a gift for writing, learns that Paramount Pictures is holding a screenwriting competition to celebrate ‘Star Trek’s 50th anniversary, she swiftly writes her own screenplay for submission. But on account of her condition and a great deal of ignorance from those around her, ‘Wendy’ is unable to submit her screenplay in time. So, seeing no other option, ‘Wendy’ decides to leave her group home in Oakland and travel to Los Angeles to deliver her screenplay in person…

Although the film’s screenplay (which is actually written by Michael Golamco) rarely breaks the mould of your typical coming-of-age narrative, ‘Please Stand By’ still has more than its fair share of heart-warming moments. And whilst some may argue that the film’s continuously upbeat tone robs the story of any real stakes, ‘Please Stand By’ isn’t really a film that aims to paint an incredibly dramatic tale of self-realisation, family and belonging, but instead a film that effectively balances all of those themes through a charming and light-hearted story of a woman embarking on a journey across California in dedication of her favourite science fiction franchise.

In what would’ve been the film’s most criticised performance should it have been executed poorly, Dakota Fanning’s performance as ‘Wendy’ is one of the more thoughtful and accurate portrayals of on-screen autism in quite some time. From her social awkwardness to her flailing arm movements and stiff dialogue readings, Fanning successfully captures the functional spectrum of autism in a delightful and intriguing expression of independence and passion, as due to ‘Wendy’ having few experiences outside of her sheltered routine, the road-trip she embarks upon makes her feel truly unconstrained for the first time in her entire life, both for better and for worse. Meanwhile, her caregiver and older sister wonderfully portrayed by Toni Collette and Alice Eve, respectively, attempt to track her down and bring her home, fearing for her safety and greatly doubting her abilities.

When it comes to visuals, despite the ceaselessly vibrant colour palette, the cinematography by Geoffrey Simpson hardly ever veers away from immobile close-ups and/or mid-shots. But where the camerawork truly shines is during the scenes where the film attempts to recreate shots from classic ‘Star Trek’ episodes, as the Mediterranean climate of Los Angeles is quickly swapped-out for the strange alien worlds of: ‘Wendy’s imagination, all the while we hear ‘Wendy’ as she reads excerpts from her ‘Star Trek’ screenplay through calming voiceover.

In a similar sense to the visuals, the original score by Heitor Pereira rarely does anything exceedingly innovative as far as soundtracks go, with the majority of the runtime relying more on the use of lesser-known indie songs such as: ‘Take Me as I Am,’ ‘All or Nothing’ and ‘Waves.’ Yet the score once again becomes much more interesting once we are transported into ‘Wendy’s screenplay, as the original score morphs into something that wouldn’t seem out-of-place in an actual ‘Star Trek’ film.

Along with recreating shots, ‘Please Stand By’ also pays homage to ‘Stark Trek’ history in nearly every aspect of its production. Firstly, the name tags of: ‘Wendy’s work collogues use the same font as the opening titles of: ‘Star Trek: The Original Series.’ Secondly, the mountain ranges seen in the background of the screenplay sequence are the Vasquez Rocks located in Agua Dulce, California, this area has been an extensively used location for many ‘Star Trek’ films and series, but most notably, for the 1966 episode: ‘Arena.’ Lastly, the suits worn by ‘Captain Kirk’ and ‘Spock’ during this same sequence are similar to suits worn by the characters in the 1968 episode: ‘The Tholian Web,’ visibly proving that the filmmakers did their research when it came to the franchise and its ardent followers.

Overall, whilst Golamco’s admittedly predictable screenplay does place the film more in the mid-range of coming-of-age comedy-dramas, by letting the talented actors simply do what they do best, director Ben Lewin does make ‘Please Stand By’ palatable even in its most commonplace moments. And although I obviously can’t speak for everyone in regard to how well the film truly portrays autism given my position, in my eyes, this low-budget flick handles the potentially challenging concept adroitly, displaying the challenges of a life with ASD without ever devolving into a exaggerated collection of tics and quirks, insulting those who may be on the spectrum. Final Rating: 7/10.

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Winter’s Bone (2010) – Film Review

/ Joe Baker / Leave a comment

Based on the novel of the same name by Daniel Woodrell, ‘Winter’s Bone’ is a bleak, haunting and yet still somehow hopeful story set in rural America, acting as both a captivating drama and a suspenseful crime-thriller. The film is an intense and uncompromising look at the Missouri underclass through the eyes of a diligent teenager, blending its star-making performance from Jennifer Lawrence with skilfully shot sequences and incredible set-dressing to create a stunning and authentic portrait of Missouri life, all under the capable hand of writer and director Debra Granik (Down to the Bone, Leave No Trace).

Plot Summary: With an absent father and a mute, mentally ill mother, seventeen-year-old: ‘Ree Dolly’ acts as the primary guardian for her household, caring for her younger siblings with minimal funds. But when the local Sheriff appears at her door, informing her that their house has been put-up as collateral bail by her missing father, ‘Ree’ is forced to use what little knowledge she has of her father’s nefarious activities to find him before its too late, soon discovering that many locals don’t appreciate her poking her nose into their business…

Despite her many previous successes, Debra Granik still had a great deal of difficulty finding funding for: ‘Winter’s Bone,’ as after the screenplay had been written, Granik and her co-writer Anne Rosellini budgeted the film at around £3 million, but every potential group of financiers they approached all said the same thing: “Cast the Film, and Then We’ll Talk.” Thus, casting directors Paul Schnee and Kerry Barden began approaching various actresses and eventually settled on the then unknown eighteen-year-old actress, Jennifer Lawrence. As although she had never carried a film before, only having taken small roles in the past, both Schnee and Barden felt Lawrence had the perfect tomboyish demeanour for the character, in addition to having strong roots in Kentucky.

Winning an Oscar for her performance in 2011, ‘Winter’s Bone’ greatly benefits from ‘Ree Dolly’ as a character and Jennifer Lawrence’s portrayal of her. This is mostly due to ‘Ree’ being such a rare female protagonist for a film such as this, as with her errant father’s only bankable skill being his ability to cook methamphetamine, ‘Ree’ is left to care for her family, teaching her younger siblings survival skills to prepare them for when they are older (for which Jennifer Lawrence had to learn how to correctly skin squirrels and chop wood), and after she is informed of the limited time she and her family still have within their house, ‘Ree’ becomes relentlessly determined to save her home, occasionally even risking her life all in pursuit of caring for her loved ones and ensuring her siblings have a future.

Michael McDonough’s stark cinematography captures the essence of what life in the brutal and sparsely populated Ozark, Missouri (a.k.a. the Ozark Mountains) is like, as the camerawork allows for many delectable shots, from the camera peering around corners to lurking over character’s shoulders, the cinematography constantly lends itself to the film’s frostbitten colour palette and beautiful bitterness of the story’s setting, which is all enhanced by the entire film being shot on-location.

Furthermore, the original score by Dickon Hinchliffe utilises instruments common to the Ozark region, making use of violins, guitars, mandolins and banjos, in a way that is unique to the film. For example, the way banjos are used throughout the soundtrack, particularly in the tracks: ‘I’ll Find Him,’ ‘Hardscrabble Elegy,’ ‘Down the Road’ and ‘The Trees,’ deviates from the instrument’s stereotypical image of being associated with hillbillies and rednecks. One of the film’s final tracks: ‘The Lake’ is also worth a quick mention, purely for how unnerving and incredibly atmospheric it is.

For authenticity purposes, most of the supporting cast of: ‘Winter’s Bone’ weren’t actual actors/actresses, but locals from the surrounding area. ‘Ree’s sister for instance, was one of these actresses, and the exterior of her home we see in the film is actually her house in real-life. Sticking to this idea of authenticity, nearly all of clothes that the characters wear are clothes provided by the locals, as the production crew gave locals brand new clothes in exchange for their old, frayed items. If I had to guess, I’d also assume many of the houses we set foot within belonged to these same locals, as every room we enter appears genuine, with no area ever seeming as if it was set-dressed regardless of how many items are in one space at a time.

To conclude, ‘Winter’s Bone’ is spectacular in its efforts as a drama and a crime-thriller alike, as it’s intelligent, well-written and entirely non-patronising story is as tense and as entertaining as these respective genres come. And whilst many Oscar-winning films can often be disappointing beyond whatever aspect is their main talking point, ‘Winter’s Bone’ is also beautifully shot and well-paced, with Jennifer Lawrence’s career-defining performance simply being the icing on top of the cake. So, even if the first act of: ‘Winter’s Bone’ is slightly slow and repetitive, after that initial hump, the film thrives as a rewarding and richly detailed exploration of the strength required when being confronted with unpleasant truths. Final Rating: low 8/10.

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Coherence (2013) – Film Review

/ Joe Baker / 1 Comment

A case study in less-is-more filmmaking, 2013’s ‘Coherence’ is a taut puzzle box of a film, brimming with scenes of both existential terror and multidimensional weirdness as its reality-bending story unravels further and further. And even though this sci-fi/drama is by no means a masterpiece, ‘Coherence’ does demonstrate a willingness to embrace the unknown, the implied and the mysterious, in addition to serving as a strong calling-card for debuting writer and director James Ward Byrkit, a long-time storyboard artist for Oscar-winning director Gore Verbinski.

Plot Summary: On the night of an astronomical anomaly, eight friends meeting for a dinner party in Northern California experience a series of troubling events following a street-wide blackout. But when the group venture outside to investigate a lone house that seemingly still has power, they soon find themselves in an alternate reality where identical versions of themselves exist…

Shot over five nights on an extremely low-budget of around £36,000, ‘Coherence’ is a true indie film, treating every shred of its thin-budget, short production schedule and small crew of only two sound operators, a cinematographer, a producer and writer-director James Ward Byrkit as a virtue. This is best seen in Byrkit’s unorthodox directing style, with Byrkit only giving each of his actors a note (that only they would see) as their goals for the day instead of the full screenplay, this approach allows the story to naturally unfold and implies that many of the reactions from the actors are genuine, as they were unaware of what their co-stars would say/do. Yet this method does have one major flaw, as due to a large amount of the film’s dialogue being improvised, a good portion of lines end-up sinking into audio muck as a result of the sheer number of characters present, even if most of the overlapping dialogue is comprehensible.

Primarily being a drama despite its initial sci-fi set-up, it was essential that ‘Coherence’ feature as many strong performances as possible, and luckily, this is the case, as the entire cast of Emily Baldoni, Maury Sterling, Nicholas Brendon, Lorene Scafaria, Elizabeth Gracen and Hugo Armstrong (among others) are solid, balancing their fear, confusion and frustration regarding their peculiar situation without ever seeming too outlandish. And while certain characters do receive far more characterisation than others, the main conflict within the group focusing on ‘Em’ and the issues she is currently facing with her boyfriend: ‘Kevin’ is interesting, though it is ultimately there for the sake of the climax, which leaves plenty of room for speculation.

Shot chronologically to further fit with the film’s largely improvised production, ‘Coherence’ is shot almost entirely through hand-held claustrophobic close-ups, and even though this was a stylistic choice as Byrkit wanted to give his actors the freedom to move anywhere they wanted during filming, I feel it works both for and against the film. As this idea of making use of the film’s limited resources through shaky and focus-blurring shots draws-thin by the end of the runtime, especially when the film has no reason to be shot in hand-held when it comes to the story’s quieter moments. However, whilst the cinematography by Arlene Muller and Nic Sadler leaves much to be desired, I did enjoy how ‘Coherence’ uses shadows, as the many alternate realties that lie just outside the house are only hinted at, with anything outside of the property being shrouded in near-total darkness.

Kristin Ohrn Dyrud’s minimal yet atmospheric original score makes excellent use of eerie drones and moans, amplifying the film’s sense of creeping dread which is present even from early on with tracks like ‘The Box,’ ‘Lights Out’ and ‘Schroedinger’s Cat.’ What’s more impressive, however, is that is ‘Coherence’ is one of the few films Dyrud has actually composed, with most of her career revolving around electronic music. But if this score is anything to go by, then I personally can’t wait to see more from her as a composer.

When ignoring its science fiction elements, ‘Coherence’ is predominantly a film about the choices we make in life and the idea that making a specific choice won’t necessarily lead to happiness. This underlining theme is most evident in the film’s opening conversation, as the various characters discuss their successful careers while simultaneously ignoring their inner struggles, which could also be seen as a sly dig towards the vapid state of American privilege. It’s also during this first act that ‘Coherence’ attempts to utilise editing to display a passage of time, but rather then achieving this in a creative fashion, the film merely cuts to black before then cutting to a scene later in the evening, which is continuously jarring.

In conclusion, considering how much of the film consists of a group of friends becoming increasingly unhinged as they pace around a residential living room, it’s impressive how effectively Byrkit manages to suggest multiple realities and ominous threats, even if it’s trembling camerawork, odd editing choices and occasionally untapped potential cause the film to stumble now and then. Yet whatever its imperfections, ‘Coherence’ is still a thought-provoking and well-crafted experiment in micro-budget sci-fi, working best as a cautionary tale about the paths we choose in life and the alternate selves we sometimes dream of becoming. Final Rating: low 7/10.

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Slow West (2015) – Film Review

/ Joe Baker / Leave a comment

Musicians have long been drawn to the cinematic tales of the Old West, whether that’s the singing cowboys of early sound cinema with big-screen Elvis vehicles such as: ‘Flaming Star’ and ‘Charro!’ or Glen Campbell’s first step into the scorching deserts of New Mexico for the 1969 classic: ‘True Grit,’ the western genre has always seemed like a second home for musicians regardless of their stature. So, its no surprise that in 2015, part-time musician and part-time music video director John Maclean brought his own vision to the genre with ‘Slow West,’ a subversive story of death and devotion brimming with natural beauty, unsettling violence and a distinctly Coen-esque flavour of bleak, deadpan humour.

Plot Summary: In 1870, a naive Scottish teenager travels to Colorado in pursuit of the woman he loves, whilst there, he attracts the attention of an outlaw who is willing to serve as his guide across the county. Little does he know, not only does his beloved have a sizeable bounty on her head, but his seemingly helpful guide is actually hiding his true motive…

Described as “An Unconventional Western” by most. ‘Slow West’ was developed and co-financed by Film4, along with receiving some additional funding from the British Film Institute, Fulcrum Media Finance, the New Zealand Film Commission, and production company A24. However, while all this financial support may leave you thinking that writer and director John Maclean has previously produced a number of incredible films, ‘Slow West’ is actually Maclean’s directorial debut, as first and foremost Maclean is a Scottish musician, which does help explain some of the film’s peculiarities. As according to John Maclean, the original idea for: ‘Slow West’ came from a desire to link the British costume drama of a Merchant Ivory film with that of the American western, which is certainly a very interesting concept, even if this approach doesn’t always result in the smoothest or most emotionally impactful story-beats.

Leading the cast, Michael Fassbender as bounty hunter: ‘Silas Selleck’ and Kodi Smit-McPhee as sixteen-year-old: ‘Jay Cavendish’ both do a phenomenal job of bouncing off each other, as ‘Silas’ is a grizzled recluse with little faith in humanity, believing the west is simply a land of murder and theft, a land where everyone will stab you in the back the moment you turn around, whereas ‘Jay’ is the complete opposite of this, an optimistic young lad from an aristocratic family, woefully unprepared for the dangers that lie ahead yet trusts his enervating journey will be worthwhile just to see his beloved ‘Rose’ once again. And despite these characters being endlessly entertaining to watch, ‘Silas’ character-arc does feel a little rushed in the grand scheme of things, along with Caren Pistorius and Ben Mendelsohn barely getting a chance to shine due to their character’s limited screen-time.

Shot on digital when originally planned to be shot on 35mm, the cinematography of: ‘Slow West’ handled by Robbie Ryan breaks many of the conventions we associate with western visuals similar to how the narrative has a wizened grasp of when to embrace or reject a western cliché, as ‘Slow West’ ditches the usual western colour palette of beiges and browns for a much more vibrant look. Furthermore, as opposed to being shot in Colorado where the story takes place, the film was actually shot in the South Island of New Zealand, meaning the film has no shortage of stunning vistas, even if, in reality, the film couldn’t have been shot further away from where the American West was located.

The original score by Jed Kurzel isn’t overly memorable or unique, but does suit the film’s many moments of dark comedy remarkably well, as the score utilises a wide array of different instruments to give the soundtrack a bygone western feel, ensuring the original score stays within its 1800s setting and the confines of slow and drawn-out tracks such as: ‘Jay’s Theme’ and ‘The Trading Post,’ which were very common during the golden age of Hollywood when westerns were at their peak.

Alongside a suitable original score, another crucial element to crafting a great western will always been production design, as any film that can make their audience feel as if they have actually travelled back to the story’s time-period has surely succeeded. And director John Maclean makes it clear early on that he understands this, as even in spite of the budget for: ‘Slow West’ being fairly minimal (especially for a western), the film’s production design is often superb, with Maclean taking influence from classic westerns like ‘Iron Horse’ for the period details of both the film’s costumes and architecture.

On the whole, ‘Slow West’ may pay the price now and then for being helmed by a less-than-experienced writer and director, but for the most part, Maclean triumphs with his first cinematic outing, as ‘Slow West’ reaps the rewards of taking the road less-travelled, relishing in the telling of the tale as much as the tale itself. And whilst perhaps not on the same level as a Coen brother’s western, ‘Slow West’ exudes such confidence with its casual weirdness and abundance of ripping performances, subsequently resulting in an unpredictable yet still wildly compelling modern western. Final Rating: 7/10.

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The Grey (2012) – Film Review

/ Joe Baker / Leave a comment

Directed by Joe Carnahan (Smokin’ Aces, The A-Team, Boss Level) and based on the short story: ‘Ghost Walker’ by Ian Mackenzie Jeffers, 2012’s ‘The Grey’ is a sombre tale of survival populated with fleshed-out characters and some surprisingly compelling themes. As Liam Neeson throws aside his stereotypical action-hero role in exchange for a far more realistic protagonist, which in turn allows the film to fully indulge in its dreary nature and overcome many of its screenplay-related faults to ensure its perilous journey through the Alaskan mountains remains engaging.

Plot Summary: Following a gruelling five-week shift at an Alaskan oil refinery, a team of oil workers including skilled huntsman: ‘John Ottway,’ are flying home for a much-needed rest. But when a savage storm causes their plane to crash in the Alaskan wilderness, the group are forced to trek southward toward civilisation, with a pack of ravenous wolves trailing their every step…

Although ‘The Grey’ is very reminiscent of the 1993 survival-thriller: ‘Alive’ in more ways than one, it’s apparent that Carnahan had something more ambitious in mind than just your conventional story of survival when directing ‘The Grey,’ as the film focuses a large amount of its overly long runtime on extensive dialogue scenes which attempt to develop the film’s characters. And while all of this talk could’ve been dull if executed poorly, ‘The Grey’ is never tedious to watch, as the film intercuts many of its moments of characterisation with uncomfortably tense sequences of the wolf pack stalking (or killing) members of the group.

Speaking of the characters, the whole cast of Liam Neeson, Frank Grillo, Dermot Mulroney, Dallas Roberts, Joe Anderson, Nonso Anozie and James Badge Dale all portray men on the brink of defeat extremely well, as the further the story goes on, the more tired and desperate they look, making the viewer feel genuine empathy for every one of them as they remain stuck in their horrific situation with so sign of rescue. However, Liam Neeson especially never fails to impress throughout the film, giving a truly committed performance as he portrays ‘John Ottway,’ a hunter who since the tragic death of his wife suffers from suicidal tendencies and a lack of self-worth, often leading him to become distant from those he still has left.

Masanobu Takayanagi handles the film’s cinematography, which is, in my opinion, the weakest element of the film, as despite ‘The Grey’ featuring a number of attractive shots, I feel this is less to do with the actual camerawork (which is often hand-held) and more to do with the copious number of beautiful locations the story is set within. As despite my initial belief that ‘The Grey’ was primarily filmed in a temperature-controlled soundstage, according to Liam Nesson, much of the film was shot on-location in Smithers, British Columbia, where temperatures were as low as -40 degrees Celsius. Meaning that all of the snowstorms seen within the film were actual prevailing weather conditions and not visual effects, so whether the characters were next to an snowy cliff or a flowing stream, I couldn’t help but gaze at the natural beauty of each scenic location the film presented. And just as its title would imply the colour palette of: ‘The Grey’ relies heavily on greys, blues and whites, which only add to the film’s bleak tone.

Throughout the film, the original score by Marc Streitenfeld is dramatic, atmospheric and fairly minimal, with the final track: ‘Into the Fray’ being without a doubt being my personal favourite (and most iconic) track from the film, as the largely orchestral soundtrack sustains long notes accompanied by the twinkle of a keyboard or the occasional brass stinger. All being elevated through the score’s exceptional use of howling wolves, glacial winds and most disturbingly, complete silence. Ultimately, adding-up to a chilling yet not exceedingly memorable original score.

An aspect of: ‘The Grey’ that I could see some viewers taking issue with may be how the film’s wolves are represented, as while I personally enjoy how the wolves are depicted in ‘The Grey,’ essentially serving as a pack of ruthless, brutal creatures that will stop at nothing to kill our characters, the animals aren’t exactly treated that realistically with the exception from one or two lines from ‘John’ regarding their protective behaviour. Be that as it may, visually the wolves are brought to life through CGI, which could’ve been a disaster considering the film’s moderate-budget, but director Joe Carnahan made the clever decision to obscure the wolves whenever they are on-screen through everything from fog to snow to shadows. So, ‘The Grey’ manages to avoid its CG effects becoming dated as a result of this technique.

To conclude, “Grim” is truly the perfect word to describe ‘The Grey,’ as this harrowing and merciless story of survivalism with very little in the way of positivity or hope. Yet for those who can look past its relentlessly depressing outlook, ‘The Grey’ is a captivating story about pushing through melancholy to reach contentment, which is greatly amplified by its strong cast, prepossessing CG effects and visually stunning locations even in spite of its occasionally bland cinematography and frequently chaotic editing whenever the wolves are on-screen. Final Rating: low 7/10.

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Fury (2014) – Film Review

/ Joe Baker / Leave a comment

Five years after Brad Pitt first entered the realm of fictional war stories with 2009’s ‘Inglorious Bastards,’ Pitt returned to the genre for: ‘Fury,’ a gritty action/drama following the valiant actions of a battle-hardened tank commander and his loyal men as they undertake a treacherous mission. And although the film frequently invites far too many comparisons to the military classic: ‘Saving Private Ryan,’ ‘Fury’ is still a tightly-knit story of brotherhood with some excellent performances and a suitably unflinching depiction of war to carry it through to the end of its two-hour runtime.

Plot Summary: April, 1945. As Allies make their final push towards the European Theatre, grizzled tank commander: ‘Don Collier’ commands a Sherman tank and his devoted five-man crew on a daring mission behind enemy lines. Outnumbered, outgunned, and with a rookie soldier thrust into their platoon, ‘Don’ and his men seemingly face overwhelming odds as they attempt to strike at the heart of Nazi Germany…

Rather than being based on a singular veracious story similar to most films set during the Second World War, ‘Fury’ is actually based on a collection of true stories from many real-life army veterans who spent most of their time during the war inside tanks. But primarily, the film’s storyline parallels the story of American tank commander Staff Sergeant Lafayette G. Pool, who personally destroyed over two-hundred and fifty-eight enemy vehicles before his tank was eventually destroyed in late 1944. According to writer and director David Ayer (End of Watch, Suicide Squad, Bright), it was his family’s heavy association with World War II that drove him to write and direct ‘Fury,’ wanting the film to be as true-to-life as possible to pay respect to his grandparents, who both served as officers during the historical war. Ayer also wanted the film’s characters to exhibit a level of exhaustion, as at that time, when the war was nearing its end in Europe, every remaining solider was left fighting with hardly any supplies.

Before production began, the entire cast of: ‘Fury’ underwent a rigorous month-long training course to further cement them as their respective characters, the final test of which included manning a real tank during a combat exercise. Brad Pitt, who was much older than the rest of the cast, ensured that he participated in all of the same physical training his fellow actors did. Pitt’s dedication to his role is also evident throughout the film, as ‘Don Collier,’ or ‘Wardaddy’ as he is nicknamed by his platoon, continuously remains a burley and resilient character without ever losing too much of Pitt’s natural charisma. However, the other members of: ‘Don’s crew portrayed by Shia LaBeouf, Jon Bernthal, Michael Peña and Logan Lerman aren’t quite as noteworthy, though the film does attempt to integrate a number of scenes which humanise the soldiers, a few members of: ‘Don’s crew inevitably feel like less interesting recreations of battle-burned stereotypes.

The set-design, set-dressing, editing and especially cinematography by Roman Vasyanovn, all greatly amplify ‘Fury’s grim appeal. Having nearly every location the characters visit be represented through either scorched fields, shattered farmhouses or isolated German towns (which were actually built from scratch by the production crew). Furthermore, ‘Fury’ pulls no punches when it comes to displaying graphic violence, as arms, legs and heads are all repeatedly severed in pursuit of pushing the film’s primary theme, that being the overplayed yet still impactful: ‘War is Hell,’ which is only enhanced by the film’s dingy, trench-ridden colour palette.

Contrarily, the original score composed by Steven Price is slightly lighter in tone, as tracks such as: ‘Refugees,’ ‘The Apartment,’ ‘Crossroads’ and ‘Norman’ all create a contrast to the film’s distressing visuals, often riding the line between hope and tragedy as a result of the soundtrack’s electronic pulses and grand orchestra. Still, whilst the score does leave a strong impact on the film, there is a distinct lack of memorability throughout the original score, not too dissimilar to much of Price’s other work, e.g. ‘American Assassin’ and ‘The Aeronauts.’

In addition to filming on-location in Hertfordshire, England whenever possible, ‘Fury’ also strives for realism through its use of genuine tanks from the time-period. Most notably, the Tiger I tank, making it only the second time in history that an actual tank of that make has been used in a feature film production, with the tank itself being borrowed from the Bovington Tank Museum, which is coincidentally also located in the United Kingdom. Additionally, many of the costumes that appear in the film were acquired from real World War II clothing exhibits all over the world, keeping in line with David Ayer’s admirable fight for total accuracy of the time-period.

In summary, while ‘Fury’ may offer plenty of fantastic performances and visceral action set-pieces, the film’s overly long runtime and absence of any incredibly likeable or unique characters ensures that the film never manages to live-up to its larger ambitions, which in some ways could also be attributed to David Ayer’s lacklustre writing, as Ayer’s screenplays often leave something to be desired, in my opinion, anyway. Nevertheless, ‘Fury’ is unquestionably worth a watch, even though I’ll always stick with ‘Inglorious Bastards’ for my simultaneous fill of Brad Pitt and World War II insight. Final Rating: 7/10.

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Cats (2019) – Film Review

/ Joe Baker / 1 Comment

Despite ‘Cats’ being well-known as one of the longest-running stage shows in West End/Broadway history, it is also widely acknowledged that the musical is empty spectacle and not much else. This along with many other reasons, may explain why the adaptation of the musical we received in late 2019 has since gone on to be regarded as one of the worst musicals ever put to film, as director Tom Hooper (The King’s Speech, Les Misérables, The Danish Girl) utterly squanders an enormous budget and a talented cast in exchange for a paper-thin plot, a constant bombardment of irritating songs and some truly horrendous CG effects that will leave most audience members begging to be put out of their misery.

Plot Summary: A tribe of cats known as ‘The Jellicles’ yearly meet for a ‘Jellicle Ball,’ in which they decide which of their group will ascend to the ‘Heaviside Layer’ and return to a new life. But on this year, the mysterious napoleon of crime: ‘Macavity,’ has other, more sinister plans…

Ever since it was first announced that Oscar-winning director Tom Hooper would be adapting the iconic feline-focused musical, the film has become such joke-fodder that it’s hard to see past the countless number of memes mocking the film’s dreadful visuals or comedic moments, which is a shame. Not because the film we received is even remotely entertaining, of course, but because the adaptation we almost received could’ve been fantastic. As originally, animation house, Amblimation, planned to adapt the musical into an animated film before the project was shelved following the company’s closure. This idea of translating ‘Cats’ into a traditionally animated film remained all the way to Hooper coming on-board to direct, and, in my opinion, also makes considerably more sense considering the original musical is based on the 1939 poetry collection: ‘Old Possum’s Book of Practical Cats’ by T. S. Elliot, a book brimming with whimsical sketches of various cats from a variety of backgrounds.

Newcomer Francesca Hayward, stands-out as one of the film’s few redeeming aspects, as her character: ‘Victoria’ serves as an audience surrogate, her empathy occasionally shining through as she is rapidly introduced to character after character until we uncover which ‘Jellicle’ cat will be chosen to ascend. The rest of the film’s prominent cast, however, including Jennifer Hudson, Taylor Swift, James Cordon, Jason Derulo, Idris Elba, Judi Dench, Rebel Wilson, Ian McKellen and many more, range from extraordinarily cringey to subpar at best, although their performances are further hindered by the story’s lack of characterisation and dramatic moments.

Whilst the film’s cinematography by Christopher Ross does a successful job of upgrading the beige setting of the stage show into a vibrant, neon-lit approximation of old London, allowing for an assortment of visually pleasing shots, it’s impossible for: ‘Cats’ to claw itself away from the rest of its distracting visuals. That not only includes the obvious, but also much of the film’s set-design, as several of the locations the cats enter are supposed to appear as if they are far larger than the characters in order to display each cast member as cat-sized, the drawback here being that there is usually no consistency with these scaled-up sets between shots.

Moving onto the music, Andrew Lloyd Webber, creator of the original musical, actually handled the film’s original score in addition to writing a couple of songs exclusively for the film. And while songs like ‘Jellicle Songs for Jellicle Cats,’ ‘The Old Gumbie Cat,’ ‘The Rum Tum Tugger’ and ‘Skimbleshanks: The Railway Cat’ may bring a smile to fanatics of the stage show, in the film, these songs only come across as infuriating as they are so frequent, barely making time for anything else aside from one or two atrocious cat puns.

Lastly, there is the appearance of the cats themselves, by far the most discussed/mocked element of the entire film, and for good reason, as the uncanny part-human, part-CG appearances of the furred cats appear extremely unnatural and very under-polished. So much so, that a mere two days after the film’s initial release, Universal Pictures announced that they would be releasing an updated version of: ‘Cats’ with enhanced CGI. Whilst this is partly a result of Tom Hooper’s broad direction, an article published the following year by The Daily Beast featured multiple visual effects artists who worked on the film, each claiming they had little-to-no time to finish the film’s huge array of effects, with some artists even having to sleep under their desks to get the film completed on time, at least, if said article is truthful.

In short, even though I’m personally not an admirer of Tom Hooper’s filmography, Hooper is not a wholly incompetent director, but ‘Cats’ is undeniably, an absolute catastrophe of a fantasy-musical from beginning-to-end. Quickly being placed amongst the one hundred worst films of all-time on IMDb and forcing the plans for its sequel (and spin-off television series) to be immediately scrapped, ‘Cats’ is possibly one of the biggest cinematic failures of the past decade, as its copious number of flaws massively overshadow what few, if any, redeeming factors the film had left, resulting in an insufferable viewing experience that’ll make most film buffs feel remorse for everyone involved in this embarrassing production. Final Rating: high 1/10.

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