...Rich Man, Poor Man, Beggar Man, Thief

Killing Them Softly

Dir: Andrew Dominik

Stars: Brad Pitt, Ray Liotta, James Gandolfini

The latest film from Andrew Dominik (Chopper, The Assassination of Jesse James…) is quite a difficult one to pin down. Set against the backdrop of the 2008 US Presidential Election and the beginning of the global financial crisis, Killing Them Softly follows the interlocking activities of a few downbeat criminals - some young and stupid, others old and hardened - as they attempt to salvage a form of living beneath the radar, whilst the government is focussed on bailing out the corporate world slowly falling around them.

The film was interesting in that following the story was not entirely necessary to enjoying the action. The gorgeous cinematography and stellar performances meant the real beauty of the picture lay in its nuances. The look of distain in the eyes of a weather-beaten criminal, the way in which light plays off the window of a diner, or the imaginative visual dissection of an act of killing can all lead you to being distracted from what is actually being said by the characters on screen; and instead lead you to becoming lost in the picture’s subtle beauty along the way.

That is not to say that acting is forgettable. Whilst there is no real central character in Killing Them Softly, there is instead an ensemble of actors who have plied their trade portraying members of society’s darker echelons. There is also a very, very deep pit of dark humour to be found in a script that exudes an air of tired masculinity - lines like “You’re telling me to stop drinking? I was drinking before you came out of your fathers cock!” punctuate the exchanges between tired criminals attempting to control their own private economy as the greed and recklessness of a few have sent it spiralling into chaos.

Killing Them Softly is a crime drama with inspired pockets of aestheticised violence, yet it doesn’t have the broad, overlapping themes of Lawless or the punchy neo-noir feel of Drive. Instead, it is a slow, macabre tale of grizzly masculinity struggling to maintain a grasp on power in the wake of double-crossing and distrust in dingy, smoke-filled rooms - and will therefore greatly engage those who enjoyed Tinker, Tailor, Soldier, Spy. Jackie Cogan’s final ruminations on the selfish, aggressive and business-like nature of modern America, contrasted with Obama’s ideal of a truly United states, offers a perfect ending to brilliantly subtly and nihilistic film.

8 / 10

Frighteningly Thought-Provoking Family Fun

Paranorman

Dirs: Chris Butler & Sam Fell

Stars: Kodi Smitt-McPhee, Tucker Albrizzi, Christopher Mintz-Plasse

Paranorman tells the story of a young horror film fan who is surrounded by the ghosts of previous residents of his small American town. Ostracised at school for being “ab-Norman”, he befriends fellow outsider, Neil, and together they must prevent the supernatural catastrophe that will occur at his witch-hunting community’s fast approaching anniversary.

During Paranorman’s first act you find yourself ignoring that the major plot strand seems to be following in the footsteps of established popcorn favourites like The Sixth Sense or Troll 2. This is because the brilliance of the film’s opening lies in the little gags and horror movie references that cover Norman’s day-to-day life; and the enjoyable character development that wonderfully illustrates the rôle of movies in an outsider’s childhood, akin to last year’s Super 8. The plot then takes a rather mature and unexpected turn, and after an adventure full of genuine laughs and frights, the final scenes of Paranorman leave the audience with much food for thought.

The film is also a great technical achievement for Laika studios, the creators of Coraline. In an industry that has become overloaded by movies more concerned with merchandising profits than entertainment, cinematographer Tristian Oliver (Wallace & Gromit, Chicken Run, Fantastic Mr. Fox) has managed to create a visually extraordinary world for Norman to inhabit, as well as terrifically convincing special effects and characterisation through the strenuous and mind-bogglingly patient art of stop-motion animation. Moreover, a supporting cast including Anna Kendrick, Casey Affleck, Jeff Garlin and John Goodman help to bring the population of Norman’s town to life with great warmth and vigour.

Paranorman is definitely not a children’s film, it contains genuinely spooky scenes that go far beyond “mild peril” and its references, innuendo and thought-provoking themes make it almost more enjoyable for adults. This family stop-motion horror film deeply challenges the small town mentality of immediately confronting what is unknown with bigotry, hatred and fear – and instead advises children and adults alike to take the time to listen to those who are ignored and embrace their individuality.

8 / 10

True Bromance

Untouchable (Intouchables)

Dir: Olivier Nakache and Eric Toledano

Stars: Omar Sy, François Cluzet, Anne Le Ny

After becoming the second most successful French film of all time within the first nine weeks of its domestic run, dividing audiences and critics along the way, I was desperate to see the first and only screening of Untouchable in Manchester this week – at the city’s crappest multiplex. The schmaltzy publicity surrounding the movie set my expectations as low as the quality of the cinema’s seats, but I was pleasantly surprised by Untouchable’s charismatic performances and thoroughly unpretentious charm.

The story follows the development of a friendship between two men: Phillipe, an aristocratic quadriplegic with a diminished appetite for life; and Driss, a young man with buckets of charisma and low ambitions. After Phillipe’s interview process for a new carer only attracts pitying and money-orientated applicants, he is immediately attracted to Driss - whose frankness and lack of judgement seals him the job. We then follow the friendship that develops between the two. One rich, white, “cultured” and with a dying libido; the other poor, black, young and audacious.

Although the premise sounds unoriginal, and may remind you of predictable Hollywood fare such as The Bucket List and The Blind Side, the movie itself is an absolute joy. Never overly exploiting the emotional strings that could readily be pulled, it is a witty and uncondescending comedy drama that had the audience smiling the whole way through. Omar Sy’s performance in particular exhibits the same clinical comic timing and infectious charisma that has served Roberto Benigni and Jean Dujardin so well with English-speaking audiences in recent years. The superb editing and diverse soundtrack also prevent the film from ever being a labour to watch – and allow it to switch between heartwarming and heartbreaking with terrific subtlety.

Not unlike last year’s The Artist, it seems that again France may provide us with the year’s most charming, uplifting and feel-good movie. Untouchable will undoubtedly annoy some due to its seemingly clichéd premise and flawed publicity campaign, but don’t let this misrepresentation deter you. Leave cynicism behind, and enjoy the film for what it is – an absolute treat.

9 / 10

The Assassination Of A Bootlegging Gangster Movie By The Misguided Guy Pearce

Lawless

Dir: John Hillcoat

Stars: Shia LeBeouf, Tom Hardy, Jessica Chastain

Lawless is a rough crime drama set in Virginia during The Great Depression. It follows the true story of the three Bondurant brothers who made their fortune producing and selling moonshine, despite fierce opposition from their competitors and the law. Of course the rise of the gangster is never smooth; and the Bondurants business is constantly muddied by intimidation, violence, vengeance and pain.

The power of Lawless lies mainly in its cast. Tom Hardy grunts and lurches his way through the film as the indomitable Forrest, a mountain of masculinity that Hardy oddly described as playing with the demeanour of “an old lesbian” yet the subtle authority of “the grandmother from Sylvester and Tweety”. Shia LeBeouf delivers a career-best performance as the young Jack Bondurant, whose involvement in a variety of subplots allows him to display more versatility than would be possible in a lifetime of Transformers movies. Jessica Chastain also proves the old edict that “there are no small parts, only small actors” and despite her limited screen time, steals nearly every scene that she’s in with her strength and subtlety.

However, there is a single performance in the film which is not only unconvincing from an actor who we have seen do better, but also exemplifies Lawless’ weaknesses in general. Guy Pearce plays Charlie Rakes, an intimidating Chicago police officer who is looking to shake down the Bondurants by any means possible. Pearce insisted on designing a character with a ‘distinctive’ look (which is as off-putting as his rôle in Prometheus); and his performance is incredibly misguided. In amongst the dustbowl subtlety of the rest of the ensemble, Pearce acts more like a cross between Hans Landa and Goldfinger – a maniacal caricature of a villain whose recklessness leaves you wondering how he climbed to such a high position in the police without being sectioned.

Pearce’s outlandish performance brings down most of the scenes he’s in, puncturing the drama of the true story and diluting the audience’s suspension of disbelief. Whilst there are many strong performances in the film, they are sometimes hampered by Nick Cave's flawed script that only really gives Shia LeBeouf’s character room to develop; resulting in Gary Oldman and Mia Wasikowksa only appearing on screen for a few minutes.

Lawless is bloody and brooding, and features some great acting performances. However, Guy Pearce’s problematic characterisation and a script lacking in direction may leave it dry as a dustbowl come awards season.

7 / 10