Six Degrees Of Innovation

Cloud Atlas

Dir: Andy & Lana Wachowski, Tom Tykwer

Stars: Tom Hanks, Halle Berry, Jim Broadbent, Doona Bae, Ben Whishaw, Jim Sturgess

Cloud Atlas is such a unique movie experience, it is likely to be difficult to describe concisely. Helmed by three directors who equally share directing credit, this genre-spanning epic features half a dozen loosely connected storylines set across five different centuries; and stars an ensemble cast of talented actors who portray a variety of characters unrestricted by race and gender. The project’s grand scope and talented cast are the product of an independently sourced $100 million budget – and by the end of its 170 minute runtime you feel as though you've experienced something overwhelmingly entertaining.

The movie’s six timelines each present narratives of varying genres, that all involve interconnected themes relating to the struggle of an individual against oppression. During the Gold Rush, an American working within the slave trade has his convictions challenged after witnessing acts of cruelty. In 1930s Cambridge, a young musician works to compose his masterpiece whilst corresponding with a distant lover. An LA journalist in the seventies must fight for her life whilst she attempts to uncover a conspiracy surrounding a corrupt nuclear energy corporation. A publisher in contemporary London receives a sudden windfall, only to then have to fight for his freedom after being falsely incarcerated. A clone in 22nd century Neo-Seoul attempts to spark a revolution after making a horrifying discovery. And a tribesman in a primitive, post-apocalyptic society struggles to defend his family from different invading forces.

The six stories develop simultaneously and follow similar narrative movements, despite cross-cutting between diverse genres and settings. The movie therefore has an incredibly unique vibrancy given its long running time, and even if particular scenes don’t fully engage the audience, something completely different may follow. Although the tone of consecutive scenes can differ between Blade Runner, Chinatown and Chicken Run; the exceptional editorial work, and thematically engaging script, help keep the audience entertained and invested despite the ever-changing characters and plots. The greatest success of Cloud Atlas perhaps lies in the ensemble cast, who offer flexible and dynamic performances - each able to cross several storylines to portray characters of different races and genders thanks to the work of an incredible prosthetics and make-up department.

Although likely to divide opinion due to its immense ambitions, Cloud Atlas is an undeniably groundbreaking movie experience that challenges the orthodoxy of cinematic narrative. In a year in which monotonous films of a similar runtime could dominate the Oscars, whilst dull action blockbusters are released by the bucketful – Cloud Atlas may be the first step in a bold new direction for ambitious storytelling and filmmaking.

9 / 10

Dial S For Sugarcoating

Hitchcock

Dir: Sacha Gervasi

Stars: Anthony Hopkins, Helen Mirren, Scarlett Johansson

Anthony Hopkins’ impressive impersonation of the legendary director in Hitchcock follows on six weeks after Toby Jones’ portrayal of Alfred Hitchcock in the BBC TV Movie, The Girl. Yet where The Girl was a haunting exploration of the auteur’s sexual aggression towards Tippi Hedren for a post-Saville audience; Hitchcock instead seeks to smooth over the rougher edges of history and character, in order to present a kinder and more uplifting drama, which ultimately leaves a rather unsatisfactory aftertaste.

Sacha Gervasi’s movie focuses on the period of Hitchcock’s career between the premieres of North By Northwest and Psycho. We follow the daring decisions made by a director who rejected offers from major studios at the apex of his career, in order to direct an independent and seemingly distasteful horror film based on the crimes of Ed Gein. Hitchcock’s self-doubt, marital paranoia and lecherous advances towards his leading lady mar the movie’s production; whilst stumbling blocks put in place by censors and distributors seem to doom the movie’s release. Although cinematic history dictates that Hitch will undoubtedly craft a masterpiece, Hitchcock’s jubilant ending is somewhat confusing if one cannot overlook the eponymous director’s obsessive voyeurism and clear misogyny.

As a huge admirer of the auteur’s filmography, of which I think Psycho is the magnum opus, I had hoped that this Hitchcock biopic would give a detailed insight into not only the difficulties of making such a groundbreaking film; but would also explore the character of a man who was himself a Freudian mess, and whose cruelty to his leading ladies is well-documented. Instead, the plot of Gervasi’s movie seemed to be more of an exercise in historical box ticking (despite several inaccuracies) and as a result the movie-making element of the screenplay is rather formulaic. The depiction of Hitchcock’s mental state allows for hallucinations of Ed Gein – which makes for an interesting portrayal of how a horror director must empathise with the grotesque. Yet at the same time, Hitchcock’s personal sexual depravity seems to be treated as an unfortunate quirk that we are meant to forgive by the end credits. If it wasn’t for the dignified, powerhouse presence of Helen Mirren, the film almost ventures into the territory of casual fifties sexism that it seeks to rebuke. Moreover, any attempt at redemption for the lead character is ultimately soured by the fact that Hitchcock is set just before the making of The Birds which, as aforementioned, was the production during which the director subjected Tippi Hedren to physical and mental degradation - before abruptly ending her career - because she refused his sexual advances.

Before watching Hitchcock, I got the feeling that as an enthusiast of the director’s work I may end up belonging to a minority who would enjoy watching a movie based around the production of Psycho. However, I now feel that the opposite may be true. Gervasi’s movie is a fairly successful light-hearted drama that largely ignores the severity of its main character’s misgivings. Whilst the acting performances are precise, the screenplay may leave aficionados wanting something more.

6 / 10

Zero Emotion, Dark Morals, Thirty Minutes Of Action

Zero Dark Thirty

Dir: Katheryn Bigelow

Stars: Jessica Chastain, Jason Clarke, Joel Edgerton

Commentary on the politics of Zero Dark Thirty prior to its release has been pretty much unavoidable. Liberal commentators have taken umbrage with the movie’s strongly pro-torture stance; whilst conservatives have alleged that Bigelow’s unprecedented access to classified information, and the timing of the film’s American release, make it pro-Obama propaganda. Having seen the film, it is unsurprising that its content proved to be so politically divisive. Although I agree that the portrayal of torture as a successful means to an end is abhorrent within the context of this movie, my overriding reaction to the film wasn’t one of outrage, but more one of boredom.

The film centres on CIA officer Mia (Chastain), whose entire career has revolved around the capture - dead or alive - of Osama Bin Laden. The opening act contains incredibly vile scenes of Maya and her colleague Dan (Clarke) subjecting a suspected terrorist to physical torture, waterboarding and sexual humiliation in order to gain information that he screams he is not privy to. The audience is never distanced from these images - and they are presented as a factually accurate representation of how the CIA works - yet they also establish an immediate contempt for the lead characters in any human being with a capacity for empathy. Kathryn Bigelow’s direction never seems to suggest whether these methods are necessary or effective; and the remainder of the movie exists outside of morality, character development, or any understanding of intrigue or entertainment.

Instead, the audience must sit through two hours of staff meetings and paperwork, punctuated by the odd explosion or culturally insensitive piece of dialogue (“Muslims don’t celebrate with cake”), before ultimately receiving the ‘pay-off’ of Bin Laden’s actual assassination. Of course by this point the accurately choreographed, though emotionally vacant, conclusion has no dramatic value as you’ve just sat through 157mins of dull and loathsome characters statically following invasive and untrustworthy leads in order to predictably kill another bunch of dull and loathsome characters. The entire narrative is as arduous, expensive and morally vacant as the actual hunt for Bin Laden – and provides the same sombre conclusion.

For me, Zero Dark Thirty was a completely forgettable cinematic experience. It’s a story that anyone who has been alive since 9/11 is familiar with, re-told in excruciating detail, before concluding in a distant and unrewarding news event that is played out with the minimum possible drama. Although the climactic raid sequence could have made for a moderately interesting TV reconstruction 20 months ago, the rest of the story has no business on the big screen.

So if you’re interested in reading forty-page reports on how the CIA spends American tax dollars, or need some well-shot footage for a “death to the West” propaganda film – then maybe Zero Dark Thirty is worth a watch. But if you’re interested in plot, character development, engagement, entertainment, thrills, drama, and a rewarding conclusion - then there are films better suited for you this awards season.

3 / 10

Very Civil, But No War

Lincoln

Dir: Steven Spielberg

Stars: Daniel Day-Lewis, Sally Field, Tommy Lee Jones

Set during the height of the American Civil War, Steven Spielberg’s Lincoln is a bio-epic that covers the final four months of Abraham Lincoln’s presidency, in which he attempts to have the 13th Amendment (the abolition of slavery) passed by the U.S. House of Representatives. The movie explores the political decisions that Abraham Lincoln made in the pursuit of liberty, as well as addressing his personal struggles with his long-suffering wife and determined son.

Upon watching the film, Spielberg’s eye for detail is immediately apparent; which is perhaps unsurprising considering he spent the best part of twelve years researching the Abraham Lincoln in preparation for the film. The director therefore manages to effectively capture the backroom zeitgeist of Lincoln’s presidency, whilst also inspiring yet another powerhouse performance from the formidable Daniel Day-Lewis, who is clearly enjoying a colossal rôle in which he can totally immerse himself. The supporting cast also provide the sort of theatrical, dignified performances that one would expect in a grandiose film helmed by one of the most celebrated directors in movie history. However, the accuracy and intensity of the performances fail to reconcile the movie’s almost total lack of entertainment value.

Lincoln’s theatrical narrative is an arduous drama of missed opportunities. Outside of the short opening scenes in which battle-weary soldiers have an audience with The President, the majority of the film’s ‘action’ focuses on the paperwork being done by comfortable, well-dressed, white politicians. Understandably, the motivation behind the piece is clearly an adoration of Abraham Lincoln, and the great contribution he made to American history. Yet for a storyteller of Spielberg’s calibre, there is very little to entertain an audience who desire something more than backroom historical accuracy. We hear immaculately costumed men discuss bloody battles that the audience does not see. We hear about the misery and injustice of slavery without a single victim of the genocide being given adequate screen time. Even when the time arrives for the president’s famous demise in Ford’s theatre at the hands of John Wilkes Booth – the assassination is announced, but not shown on screen.

Considering that the director of Saving Private Ryan and Schindler’s List acquired a $65million budget to make this two and a half hour historical epic, the end product is a well-acted stage drama that doesn’t attempt to address the brutal or holocaustic events of the time period. In spite of Daniel Day-Lewis’ exceptional central performance, Lincoln is a struggle to enjoy if you are expecting anything more than a period political drama. Those interested in Lincoln’s presidency will love it, those wishing to be entertained at the cinema will not.

5 / 10

Once Upon A Time In The Antebellum South

Django Unchained

Dir: Quentin Tarantino

Stars: Jamie Foxx, Christoph Waltz, Leonardo DiCaprio

Quentin Tarantino’s seventh film as a writer-director endured much criticism from the press before its release. Spike Lee publicly stated that he would not watch the film, as he viewed its content as disrespectful to the genocide of his ancestors, and also challenged the writer-director’s “infatuation” with the word ‘nigger’. Moreover, in the wake of the most recent American school shooting in Sandy Hook, the press’ predictable scrutiny of movie violence again reared its head – resulting in Tarantino refusing to answer questions on the matter in an awkward interview with Channel 4’s Krishnan Guru-Murty. Today, Django Unchained is released in cinemas and, having just seen the film, I predict that after the opening weekend the voices of dissent will be in the overwhelming minority.

The movie sees Jamie Foxx star as the eponymous Django, a freed slave who becomes the protégé of German bounty hunter Dr. King Schulz (Waltz). Together, they scour the slavery-rich antebellum South killing wanted criminals for large amounts of money. After surviving a prosperous winter, the two assassins head to a Mississippi plantation known as “Candyland” to emancipate Django’s wife Broomhilda (Kerry Washington) from the clutches of the diabolical slave fighter and plantation owner, Calvin Candy (Leonardo DiCaprio) and his obedient house slave, Stephen (Samuel L Jackson).

Django Unchained is a violent spaghetti western that has significantly less of the long, inconsequential dialogue that is present in Tarantino’s earlier work, as well as marking a return to a linear, single-story narrative. Yet, even with a running time of 165 minutes, there is no point in which the script dithers. The strongly defined three acts explore the horrific brutality of slavery, the unjustified disrespect for human life, the tremendous value of freedom, and the unquenchable thirst for revenge. Although there is an incredible darkness underlying the entire piece, this ultimately only serves to fuel the satisfaction gained from Django’s roaring rampage of revenge.

This latest historical extension of the Tarantino universe is a welcome treat for fans of genre cinema, and the world he creates is littered with cinematic references. There’s a cameo appearance by the original Django, Franco Nero; a sub-plot involving the gruesome practice of slave fighting, as explored in Mandingo; a narrative that pays homage to exploitation favourites such as Day Of Anger and Boss Nigger; subtle nods to films as diverse as The Good The Bad and The Ugly, Gone With The Wind and A Clockwork Orange; plus a soundtrack full of old spaghetti western themes. However, despite the post-modern detachment, Django Unchained is probably the writer-director’s most emotionally engaging film.

This is in no small part due to the performances from the diverse ensemble cast, which are mostly exceptional. Christoph Waltz’s Dr. King Schulz is an incredibly confident and cultured mentor, akin to Lee Van Cleef in Death Rides A Horse. Conversely, Samuel L Jackson’s portrayal of Stephen is not only perhaps the most hateable black character in the history of American cinema, but also the finest work Jackson has done in a long time. A supporting cast featuring the likes of Jonah Hill, Walton Goggins and Don Johnson also help to keep the audience engaged throughout.

In spite of the out of context criticism that has preceded its release, Django Unchained is Tarantino back at his best. Although likely to be overlooked by the Academy, this stylised revenge tale’s aesthetic violence, effortless charm and rewardingly bloodthirsty conclusion make it my favourite film of the past year.

10 / 10

Struggles To Excite

The Sessions
Dir: Ben Lewin

Stars: John Hawkes, Helen Hunt, William H. Macy

The Sessions follows the true story of poet Mark O’Brien, a quadriplegic polio sufferer who spends most of his life confined in an iron lung. Raised as a Catholic (“I believe in a God with a sense of humour”), Mark visits a priest to discuss whether God will take into account his extreme circumstances, and allow him to seek professional help to lose his virginity at the age 36. During his therapy sessions with a free-spirited sex surrogate, Mark learns the social and emotional difficulty of attempting to respond to his sexually desires despite his overwhelming physical limitations.

Featuring a strong leading cast considering its modest $1m budget, writer-director Ben Lewin has managed to create a movie with the perfect atmosphere in which to tell Mark’s story. Light-hearted throughout, The Sessions manages to maturely address the issues faced by disabled love and sex, whilst also trying to find the humour in the protagonist’s anxiety and apprehension towards losing his virginity so late in life. John Hawkes, Helen Hunt and William H. Macy all provide consummate performances, and are good company during an easy watch.

However, this feel-good warmth is somewhat empty considering that the script is free of any real belly laughs, and is ultimately a little predictable. Most of the characters understand Mark’s plight, so it’s pretty much plain sailing to the finish. Whilst Mark’s exploration of his sexuality is hindered by several understandable difficulties, the audience is never led to believe that there will by any serious danger of the narrative steering from its clearly telegraphed course.

An interesting and mildly amusing film, The Sessions is simple Sunday afternoon fare that, while enjoyable, never fully grasps at the comedic or dramatic strings that its story could conceivably pull.

6 / 10

PurpleMonkeyBird's Top 12 Films Of 2012

12. Paranorman

A strong year for animation, 2012 saw Brave and Frankenweenie equally impressing – one because of its adventurous, pro-child, feminist storyline; and the other due to its dark outsider humour and references to classic horror movies. Yet it was Laika studio’s Paranorman that combined both of these themes sublimely and, with a cheeky helping of innuendo, managed to create an interesting, entertaining and thoroughly thought-provoking family film.

11. Argo

It is testament to Ben Affleck’s ability as a director that a little known, and somewhat predictable, story can be brought to the big screen with such prowess. Argo’s well-edited mixture of frustrated CIA drama, light-hearted Hollywood insider comedy, and nail-biting political thriller is absolutely seamless and also surprisingly effective.

10. The Hobbit: An Unexpected Journey

The media coverage leading up to the release of Peter Jackson’s Lord Of The Rings prequel described the movie as too ambitious, too long and too realistic. Yet The Hobbit ultimately proved to be a magical, exciting and overdue return to Middle Earth that successfully serves as a lighter and cosier companion piece to Jackson’s seminal fantasy trilogy. George Lucas and Ridley Scott should take note.

9. The Dark Knight Rises

After the success of The Dark Knight, Christopher Nolan may have been genuinely afraid of creating a trilogy so well liked that it would be impossible to complete. The Dark Knight Rises therefore let fans breath a huge sigh of relief - despite having plot holes large enough to drag a nuclear bomb through. Hans Zimmer’s score, Wally Pfister’s cinematography, and Tom Hardy, Anne Hathaway and Joseph Gordon-Levitt’s performances allowed Batman to gracefully bow out knowing that Gotham will never again have it so good.

8. The Master

Although its thin plot is spread over an excessive 140-minute running time; the substance of Paul Thomas Anderson’s The Master more than makes up for what it lacks in story. Joaquin Phoenix and Philip Seymour Hoffman’s central performances create one of the greatest relationships ever committed to film, and the subtle beauty of the direction re-enforces Paul Thomas Anderson’s reputation as a master of cinema.

7. A Royal Affair

Is there any way of making a historical drama about the Danish royal family of the eighteenth century sound interesting? Though severely under-watched in 2012, A Royal Affair is so much more than costumes and haircuts. This well-acted film addresses the struggles of the enlightenment against religion, proletariat against bourgeoisie, liberty against security and ultimately explores how power can corrupt those with even the most principled intentions.

6. The Cabin In The Woods

Whilst Joss Whedon broke box-office records this year with international hit The Avengers, his screenplay for The Cabin In The Woods is a much more original, unpredictable and over-the-top cult comedy. Loaded with self-conscious horror tropes, there are loads of laughs to be had from the shameful exploitation of gore, shock, sex and violence; as well as the ongoing meta-joke that the audience are pulling the strings of the action and baying for teenage blood. A hilarious and entertaining ride.

5. Untouchable

Not unlike last year’s The Artist, France has again provided us with the year’s most charming and uplifting feel-good movie. Never overly exploiting the emotional strings that could so readily be pulled, Untouchable is witty, uncondescending, and funny throughout. Omar Sy’s likeable and charismatic performance alone will allow you to ignore any reservations you may have towards the schmaltzy premise, and enjoy the film for what it is – an absolute treat.

4. Searching For Sugar Man

Apartheid South Africa was so isolated from the seventies that music fans believed the American anti-establishment artist ‘Rodriguez’ was bigger than Elvis Presley. Upon realising that his fame is not universal, musicologists search through clues in his lyrics to discover the story of the man who inspired their generation. Rumoured to have died poor and unappreciated, after burning himself alive on stage, the search for 'Sugar Man' is an amazing exploration into how great art lives forever in the hearts of those it reaches.

3. Sightseers

Not since Edgar Wright’s Hot Fuzz has a film so amusingly captured the dark irony present in how psychopathically defensive the quaint Little English can become when they perceive their world to be under threat. Ben Wheatley was undoubtedly the perfect choice to direct this wonderfully witty script, which manages to terrifically balance both shock and humour. Steve Oram and Alice Lowe’s hilariously judged performances as a couple of psychopathic caravaners helped make Sightseers the funniest film of the year.

2. iLL Manors

Shot for a paltry £100,000 and featuring a cast of largely untrained actors, Ben Drew’s debut film iLL Manors could have easily been disregarded as a low budget vanity project. Instead, Drew has created an inescapably dark, yet strikingly relevant, exploitation film similar to 2009’s Harry Brown. Its broad range of cinematic references draw from the likes of Pulp Fiction and Taxi Driver, but also Superfly and Eastenders. A film that is simultaneously involving and alienating, iLL Manors is an exciting debut from a rising British talent, and boasts a soundtrack that matches the action in a way that no film has since the golden age of blaxploitation.

1. The Imposter

Another debut film from a British director, The Imposter’s unbelievable premise, gripping plot and spectacular cinematography leave you having to remind yourself that you are watching a documentary, and not a sophisticated crime thriller. Bart Layton’s fascinating film explores deceit, suspicion, loss, and the desire to be loved. Yet, within its thick web of lies and questions, the notion of truth is constantly fleeting; and as the story unravels it becomes increasingly difficult to trust what is being presented on screen. The Imposter is an intriguing and exciting piece that really must be seen to be believed.

Entertainment Not Guaranteed

Safety Not Guaranteed

Dir: Colin Trevorrow

Stars: Aubrey Plaza, Mark Duplass, Jake Johnson

Safety Not Guaranteed is a low-budget feature from debut director Colin Trevorrow, which derives its title and central premise from a 1997 classified advertisement posted by a supposedly experienced time traveller in search of an assistant. The original ad was actually written last minute by a newspaper employee, and recently found a second life as an internet meme; yet Trevorrow’s film instead tells the fictitious story of a pig-headed journalist and two socially awkward interns who set out to track down the eccentric who posted the advert and exploit his probable incompetence for the sake of a light-hearted magazine story.

Safety Not Guaranteed is about as good as you’d expect a film based on a meme to be. There are frequent early references to Facebook and Craigslist to remind the intended demographic that what they’re watching is set in the 21^st century, despite most of the action taking place in a forest or a suburban home. The movie is more a romantic comedy than a sci-fi piece, yet it still must understandably exist in a world in which time travel is possible; although it's also apparently the case that in this world every female character is regarded as considerably more ugly than she appears, whilst the men are all supposed to be much more attractive - despite being utter tools. Casual sexism aside, the characters are still a pretty hollow bunch whose intentions and emotions rarely manage to engage the audience enough to care, and are instead either just affectedly ‘kooky’ stock characters or lazily written stereotypes.

Rather than injecting the oddball humour into the amateur master/desperate apprentice relationship that is present in films such as Super and God Bless America, Safety Not Guaranteed is a much more slower and forgettable adventure that is just about interesting enough to hold your attention for an hour and a half, but is ultimately predictable and unrewarding. It goes to show that a mildly amusing 36-word meme may not be the strongest basis of a screenplay, especially if you completely ignore the “I have only done this once before” part. Maybe Trevorrow’s next adaptation, "Condescending Wonka and the Chocolate Factory", will bring him more luck.

6 / 10

There Will Be Dianetics

The Master
Dir: Paul Thomas Anderson

Stars: Joaquin Phoenix, Philip Seymour Hoffman, Amy Adams

Since the final line was bellowed at the close of There Will Be Blood, Paul Thomas Anderson’s next feature film has been eagerly awaited. Expectations of The Master were always going to be pretty high; especially considering the plaudits it has received from critics due to its honest fixation on Hollywood’s ever-expanding elephant in the room. Whilst the similarities between Philip Seymour Hoffman’s Lancaster Dodd and L. Ron Hubbard are bravely apparent, the questioning of Scientology's credibility is not what is most intriguing about The Master.

Joaquin Phoenix portrays Freddie Quell, a Naval veteran who has returned from the Second World War as a broken, jaded, volatile and unloved alcoholic. Drifting through post-war life on a knife-edge, Freddie encounters the benevolent and beguiling members of ‘The Cause’, who seek to heal him of his inner suffering by applying their Master’s evolving theoretical philosophy. Although Freddie’s aggressive spontaneity seems at ends with Lancaster Dodd’s idealistic charisma, the two offer each other a uniquely honest and devoted relationship as they struggle together through the public animosity they face as a result of their separate manias.

The performances from the two leads are absolutely exceptional, and make it incredibly difficult not to become immersed in the drama. Joaquin Phoenix’s high waist, low shoulders and mumbling jaw create a character who is so dangerously lost, but also so unashamedly uninhibited, that it is impossible for an audience not to become transfixed by him. Meanwhile, Philip Seymour Hoffman’s wistful and whimsical portrayal of Lancaster Dodd oozes of the authority and self-importance apparent in any man who allows himself to become deluded by his own charisma. The Master also greatly benefits from the subtly artistic directorial style of Paul Thomas Anderson, and a brilliantly simple score by Radiohead’s Jonny Greenwood, which makes the entire piece enjoyable and engaging.

The only real problem with The Master is its two and half hour running time which, not unlike the work of Lancaster Dodd, can leave you feeling that the great writer may just be pushing his luck a little too hard and making it up as he goes along. Although Anderson is notoriously reluctant to drop below the 140-minute mark, The Master lacks the broad ensemble cast and dynamic set pieces that his previous efforts utilised in order to hold the audiences’ attention. A tighter edit, therefore, may well have benefited the story and given the most exceptional scenes a little more salience.

Although it may lose focus at times, the overall success of The Master lies in its intriguing and intoxicating exploration of a psychologically broken animalist, who’s only attempt at meaning lies in an individual claiming to be greater than mortal.

8 / 10

Tainted Love

Sightseers

Dir: Ben Wheatley

Stars: Steve Oram, Alice Lowe, 'Smurf' The Dog

After directing the unforgettably dark and suffocating Kill List, you can’t blame Ben Wheatley for wanting to return to his comedy roots. His latest feature, Sightseers, manages to maintain all the trademark brutality and amorality of its predecessor - with Steve Oram and Alice Lowe’s witty script and impeccably developed characters providing great company for 90 minutes of shocked gasps, hearty laughs and guilty chuckles.

Sightseers introduces us to a thirty-something Brummie couple who are set to begin their relationship with a caravan holiday around the British countryside. Enthusiastic Chris (Oram) wants to show naïve Tina (Lowe) the luscious country he adores; yet as they progress on their tour of Little England’s quirkiest sightseeing spots (Crich Tramway Museum, Muncaster Owl Centre, Keswick Pencil Museum) the frustration of keeping their relationship exciting, whilst having to suffer their annoying fellow campers, leads Chris and Tina on a macabre journey of nihilistic violence and murder.

A product of the writers’ seven-year comedy tour, Chris and Tina are an original and enjoyable pair of oddball characters, with every one of their utterances and interactions guaranteed to ease a smile on the faces of the audience. One a dedicated lover, and respecter, of what he sees as the majestic English countryside, the other a shy and awkward dog psychologist – the pair are so pathetically out of touch with reality that they are destined to be together. Yet when they face the inevitable challenges presented by their burgeoning relationship, the romance gradually descends into psychopathic violence. It is here that the laughs get darker, but louder, as the repressed couple’s caravaning romp across a country full of obnoxious litterers, middle-class boasters and yuppie ramblers leads them down a path of homicide and arson.

Not since executive producer Edgar Wright’s Hot Fuzz has a film so amusingly captured the dark irony present in how the Little English view their world. Ben Wheatley was undoubtedly the perfect choice to direct this wonderfully witty script, and manages to terrifically balance both shock and humour. With the nights drawing in, and the cold and wet winter upon us, Sightseers is a delightfully dark comedy that will warm audiences with its many, many laughs.

9 / 10 

The Iranian Job

Argo

Dir: Ben Affleck

Stars: Ben Affleck, Bryan Cranston, John Goodman

After the critical success of Gone Baby Gone and The Town, Ben Affleck’s latest offering, Argo, seems set to shed any previous associations as the lead of popcorn flops, and instead establish his reputation as an exciting young actor-director. Argo sees Affleck trade his comfort zone of Boston for revolutionary Iran. After a brief, and bravely honest, prologue outlining the CIA’s involvement in the Middle East leading up to the 1979 Islamic revolution; we are taken to the American embassy under siege by angry protesters who take scores of ambassadors hostage in order to negotiate the extradition of the Shah of Persia from The United States. However, six Americans lay in hiding after managing to escape the embassy, and the CIA must use the most unlikely means to bring them home safely before they are captured, tortured and killed.

Partly a political thriller, and partly a tribute to the close of ‘the decade under the influence’, Affleck’s third feature manages to perfectly juggle scenes of tense CIA agents desperately working with few options and against the clock; American ambassadors attempting to survive amidst the confusion and contempt of the Islamic revolution; and embittered Hollywood bigwigs joking their way through the movie production process. With references to films as diverse as Battle For The Planet Of The Apes all the way down to SSSSnake!, Affleck perfectly captures the cinematic landscape of the time, and allows John Goodman and Alan Arkin the freedom to provide much of the comic relief.

However, the darker side of the plot is also incredibly well directed with stunning precision and historical accuracy (as a post-credits sequence of photographs further highlights). It is testament to Affleck’s ability as a director that a little known, and somewhat predictable, story can be brought to the big screen with such prowess. The unforgettably tense dénouement sees the three separate story arcs and settings dramatically colliding together, and will have every member of the audience on the edge of their seat. Although the final five minutes or so could ultimately be done without, the performers on screen are always a pleasure to be around, and could see themselves in line for accolades come awards season.

8 / 10

Top 5 Found Footage Films

After last night's release of Paranormal Activity 4, PurpleMonkeyBird takes a look at some of the greatest films within a much-maligned subgenre.

5 Troll Hunter (Trolljegeren)

A group of students set out to make a film about mysterious bear deaths in the Norwegian woods, and instead discover that government-appointed Troll Hunter’s have been working for years to fight dangerous mythical beasts. Irreverent and knowing fun, with surprisingly convincing special effects.

4 The Blair Witch Project

The genuine frustration and terror experienced by a group of teenagers shooting a paranormal documentary whilst lost in the woods, coupled with a perfect PR campaign, led Blair Witch to break box office records upon its release. A simplistic, yet chilling, teenage rite of passage.

3 [REC]

A documentary on firefighters suddenly becomes a pulsating fight for survival after a seemingly viral outbreak in a tower block. Ending and sequels aside, [REC] is an incredibly immersive and exciting zombie horror, which excites, terrifies and outrages in equal measure.

2 Cannibal Holocaust

The original ‘found footage’ movie was banned in the UK for unforgivable scenes of animal cruelty; and led to the arrest of director Ruggero Deodato in his native Italy due to the film’s vérité ultraviolence leaving many to believe they had watched a genuine snuff film. Not for the faint hearted, Cannibal Holocaust’s commentary on the amorality of the sensationalist news media makes it as relevant today as it is shocking.

1 Man Bites Dog (C'est Arrivé Près De Chez Vous)

Similar to Cannibal Holocaust, Man Bites Dog illustrates the possible depths to which the gutter press will stoop for a scoop. As a film crew shoot a documentary about a psychopathic killer, they are gradually dragged into his world of nihilistic violence, mania and contempt for human life. A challengingly dark, yet charismatic, central performance from Rémy Belvaux makes for an uncomfortable and interesting cult thriller.

...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

Faking It

The Imposter
Dir: Bart Layton

Occasionally, a film comes along that I strongly recommend others to see, but with the caveat that they don’t attempt to read anything about the film’s plot beforehand. Recent examples have included Capturing The Freidmans, the exquisitely disturbing documentary uncovering a suburban sex scandal; and Catfish, the Facebook generation’s twisted road trip with a difference. The Imposter should certainly be seen as another of these movies. Its unbelievable premise, gripping plot and spectacular thematic exploration leave you having to remind yourself that you are watching a documentary, and not a sophisticated crime thriller. 

The Imposter focuses on the story of Frédéric Bourdin, a dark 23-year-old Frenchman who, in 1997, successfully convinced a Texan family that he was their missing blonde, blue-eyed, 16-year-old son. Through interviews with Frédéric and the boy’s family, as well as dramatic reconstructions, The Imposter explores a truly fascinating story of deceit, suspicion, loss, and the desire to be loved. 

It is not just the events in the film that are so compelling, but also the prowess with which debutant director Bart Layton and cinematographers Lynda Hall (Dreams Of A Life) and Erik Wilson (Submarine, Tyrannosaur) capture the emotion of those involved, and spectacularly recreate the gaps in the subjects’ stories. The dark visuals, smooth match cuts and aching soundscapes make it impossible not to invest and empathise with the people on screen. Yet, within this web of lies and questions, the notion of truth is constantly fleeting, and as the story unravels it becomes increasingly difficult to trust and believe what is presented on screen. 

Regardless of how you feel leaving the cinema, The Imposter is an incredibly well executed film, which is guaranteed to engage every member of the audience before leaving them desperate to discuss and discover more.

10/10

Bear Jokes

Ted

Dir: Seth MacFarlane

Stars: Mark Wahlberg, Seth MacFarlane, Mila Kunis

Ted begins in Boston in 1985, where a young boy’s Christmas wish comes true and his toy teddy bear is magically brought to life. Ted (voiced and performed through motion capture by Family Guy creator Seth MacFarlane) enjoys a brief career as an 80s child star, before we jump to the present day where he now exists as a layabout stoner buddy, and general bad influence, to his 35 year old childhood friend, John (Mark Wahlberg). As the film progresses, Ted and John’s immature friendship based around getting high and watching Flash Gordon begins to take a strain on John’s relationship with his more mature girlfriend, Lori (Mila Kunis).

For a film about an anthropomorphised, pot-smoking, foul-mouthed and casually racist teddy bear – Ted begins very strongly. There’s loads of laughs to be had just watching Ted and John chilling on the couch and making pop-culture jokes, which are reminiscent of Family Guy’s glory days. There are also great comedic performances from the supporting cast, including a handful of amusing cameos. The first hour of Ted is well paced and had me regularly laughing out loud.

However, MacFarlene then seemed to remember he was writing a Hollywood movie and not an anarchic 20-minute TV episode. Staple story conventions thus creep in, channelling the likes of Knocked Up and Toy Story 2. The final act of the film, therefore, steers towards a predictable ending with significantly less laughs. Yet, annoyingly, the story didn’t need to be so telegraphed. More of the early vulgar humour would have been strong enough to entertain the movie’s key demographic, and some of the finest comedies – such as This Is Spinal Tap – manage to keep up the laughs when characters hit similar problems to MacFarlane’s.

The majority of Ted is crude, close to the mark and very very funny. Unfortunately, the schmaltzy and predictable story telling towards the end let down what could have been a much more entertaining film. Hopefully MacFarlane’s next picture will stick to pleasing the immature stoners, rather than attempting to grow up.

7 / 10