On Boxing Day 2004 a Tsunami hit the coast of Thailand and the surrounding countries leading to the worst natural disaster of recent times. 300,000 people lost their lives and the region is only now recovering from the devastation. The Impossible is the true life story of one family who endured, and survived, the experience.
The most obvious thing to say about The Impossible is that its a harrowing, draining and difficult film to watch. From the moment the Tsunami hits its an unrelenting experience. Wave after wave, both literal and metaphorical make it a difficult film to sit through, though it is one which is for the most part rewarding. Watts, McGregor and especially Tom Holland (as eldest son Lucas) are all fantastic in a series of moments which are deeply emotional and will bring more than a tear to the eye.
The film opens with the family jetting off for their Christmas vacation to a beautiful Thai resort. Everything is like a dream until McGregor’s Henry finds out he may return from the holiday to find himself out of a job. It a foreshadowing moment of what’s to come. By the films conclusion Henry will realise that in the grand scheme of things losing his job isn’t all that important.
The highlight of the film is the Tsunami hitting. For 25 minutes the film is breathless. It begins with Watts’ Maria sensing a change in the wind. While Henry, Lucas and their other two sons (Thomas and Simon) are playing in the pool, Maria looks on, concern growing on her face as a rumbling sound and the fleeing birds above make her realise something terrible is about to happen. Its a great moment as her intuition and maternal instincts take over. Unfortunately she is powerless to prevent the impending disaster, and as the water sweeps through destroying all in its path it hard to believe that anyone survived.
After enduring the initial assault we jump over to McGregor’s Henry. His ordeal is less powerful but he has equally dire challenges to face. With his wife and eldest missing, presumed dead, he is torn between looking after the safety of his two youngest and continuing his search to put his family back together. McGregor is also afforded a moment which demonstrates his superb acting ability. It’s one of many which will have an overpowering effect on all but the hardest hearts.
The Impossible is an incredible piece of filmmaking. One which is hard to criticise. Much of the criticism has focused on the decision to change the nationality of the family. Originally Spanish, here they are British, working in Japan. Its a strange decision and one which feels clearly made to increase the commercial opportunity of the film. Despite the niggling annoyance, its hard not to appreciate how tough a decision it was. The Impossible is a difficult project to sell. Its a tricky subject matter and one which audiences would have been less inclined to watch had it been shot in Spanish, as regrettable it is to admit.
The visual effects are superb. Very little CGI has been used, most of the tidal wave effects were recreated through the use of a water tank and model recreations. The effect is to suck you into the story, the realism of the events never in doubt or undermined by potentially compromising visual effects. Its one of the films many astonishing accomplishments. another, often overlooked, is the sound design. Its oppressive, disorientating and makes The Impossible as much an aural assault as it is a visual one.
The Impossible is a superb film and sets Bayona out as one of cinemas most exciting young directors. It can never be described as an enjoyable film. Its an experience, to be endured. But one which is richly rewarding and worth every minute.
Quentin Tarantino has never been a director known for his deep psychological and emotional storytelling. His films are almost always striving to be something else; entertaining and exhilarating in a way which is cool, steeped in cinematic homage and infused with a unique personality and authorship few other directors ever get close too. In many many this makes Django Unchained one of Tarantino’s most accomplished films. Since his explosive entrance into cinema 20 years ago, he has almost systematically gone about dismantling the reputation he built with the double whammy of Reservoir Dogs and Pulp Fiction. Nowadays, rather than receiving the universal acclaim for making original and refreshing cinema he has either devotees who long ago drank the Kool Aid and think he can do no wrong, or at the other end, have former fans who feel betrayed and let down by a director described as self indulgent.
Django Unchained is a very difficult film to not like. Yes its too long (so many films these days seem to be), yes it treats a very sensitive subject with a reckless abandon and yes Tarantino’s dialogue is no longer as effortlessly cool as it once seemed to be. But Django is just so much fun. It’s like an epic comic book with more references and homages to a maligned and unappreciated type of cinema than even the most devout cinephile can appreciate. And yet, even that has gone from being a source of praise to the ammunition naysayers use to condemn him. When Tarantino riffed on famous films in his early work it was heralded as revolutionary and post-modern, now it appears its this which undermines his reputation as a great filmmaker.
And Tarantino is a great filmmaker. Say what you like about how self indulgent his films have become (which they have – but for good or bad?) or his reliance on those most un-cinematic of storytelling modes – dialogue and flashback. Tarantino was once considered one of America’s most progressive and controversial screenwriters. Now though its seen obvious that he is a much better director than he is a writer. Whether you care for Django, King Schultz and their mission to save Django’s wife Broomhilda is irrelevant when discussing his exceptional skill at directing a film. Not only does he always get great performances out his actors (and here the entire cast is sublime, relishing his every word), his command and understanding of camera work and editing to tell his stories is superb. An advocate would claim its what makes it dialogue heavy scripts acceptable and brilliant. Few directors can shoot a scene with two people just talking (and with Tarantino characters are never just talking) with such cinematic accomplishment.
And so, for me, Django Unchained is one of the best films I’ve seen in recent years. Yes its deeply flawed, too long and not quite as good as Reservoir Dogs or Pulp Fiction, but then what is. But Django is incredible fun, completely original and the kind of film only Quentin Tarantino could make. And in an age when so many filmmakers seem interchangeable, and so many films feel like retreads of existing stories that is something which should be celebrated and cherished.
With the release of Lincoln I thought it would be a good time to look back at the career of the most successful film director of all time and compile a list of his Top Ten Greatest Films. Spielberg is often cited as the greatest living film director, and a quick look back over his filmography makes it hard to refute such a claim. Spielberg almost single-handedly changed the face of modern cinema. Time and time again he raised the bar for what intelligent, blockbuster cinema could achieve. He is a director who can wrap a dazzling and visually stunning spectacle around a small intimate (usually focusing on the family) story which resonates with both young and old. His films are in many ways the epitome of what cinema should be; both art and entertainment.
Since his career began, Spielberg’s major preoccupation as a storyteller has been the family. Coming from a broken family himself, its been fascinating to see the various forms this theme has taken. Early in his career he externalised his own experiences in films like Close Encounters of the Third Kind and E.T. The Extra Terrestrial (cited by Spielberg as his most personal film to date). Both deal with the breakdown of the family unit, though in very different ways and at different stages. As his career has progressed he’s looked at the responsibilities and fears of becoming a father (Jurassic Park) and the fear of losing oneself and the connection with the family (Munich). Interestingly, as he’s matured as a filmmaker his focus has shifted to look at families striving to stick together, even against insurmountable odds (War of the Worlds), but also within the framework of a dysfunctional family set up. Rarely, if ever, has Spielberg told a story containing a strong, unbroken family unit, where that strength prevails against all odds. Spielberg’s most enduring films, whether they include spectacle or not, are those which focus on the family.
He has also never been afraid to step outside his comfort zone, despite, more often than not receiving less than favourable critical responses when he does. Following the back to back success of Close Encounters and Jaws, Spielberg made the WW2 comedy 1941, to much critical mauling. Always, a romantic adventure, equally failed to set the box office alight. The Terminal, Spielberg’s second foray into romance was a failure critically despite the casting of Tom Hanks and Catherine Zeta-Jones.
Always a director looking to push the art form forward, and not content with inventing the blockbuster, recent years have seen him team up with Peter Jackson to produce the visually magnificent, if not completely successful, The Adventures of Tin Tin. Using motion capture technology and 3D for the first time, Spielberg showcased an impressive freedom in being able to move the camera wherever he wants. His eye for creating great visuals and bravura camera moves, which enhance the story, remains undiminished. Even War Horse, one of his less entertaining films, contains moments of pure cinematic storytelling.
What is so captivating about Spielberg the director is that his passion for cinema never seems to diminish. There does not appear to be a genre he is afraid to tackle and, although you could argue his best films are behind, such thinking is foolish, as his greatest and most interesting work may well be yet to come. Spielberg is a entertainer. A filmmaker who understands his art form perfectly and when working with a great story will always produce the type of cinema which makes kids fall in loving with motion pictures. That his best films get better with age is a testament to their enduring genius.
Top Ten
10. Minority Report
Based on Philip K. Dick’s novel about a future where crimes are predicted by “pre-cogs”, three seemingly psychic siblings capable of seeing the future, Minority Report is Spielberg doing what he does best; high-concept science fiction. Visually stunning but with a real story at its heart, this is Spielberg’s Noir. Cruise is perfect in the lead. But Morton as pre-cog Agatha is the stand-out. As with all Spielberg’s great films, the loss of the family is the wound and weakness which propels both the emotion and the story.
9. Indiana Jones and the Temple of Doom
Part two in Spielberg’s now Quadrilogy, Temple takes place before Raiders of the Lost Ark, with Indy sidetracked in India following a escapade in China. The darkest of the series, it also provides light comic relief with a child sidekick – Short Round. With no Nazi’s to battle Indy finds himself going up against a mystical cult enslaving local villagers children. Spielberg’s ability to mix the dark and light has rarely been bettered.
Based on the aftermath of Black September, Munich is one of Spielberg’s most mature and darkest films. Where Schindler’s List portrayed the true horror of the holocaust, Munich takes a slightly different approach. Here Spielberg abandons almost all sentimentality in favour of a gripping, realistic thriller, which contains more than its share of uncomfortable and raw murders. Led by Eric Bana’s Avner, a squad of assassins hunt down and brutally murder those responsible for the tragic events at the 1972 Olympics. With a cast which also includes Daniel Craig, Mathieu Kassovitz, Ciaran Hinds and Geoffrey Rush, Munich is one of Spielberg’s most overlooked films.
6. E.T. The Extra Terrestrial
Shot from the point of view of a child (or alien) E.T. captures the wonder of discovery while also serving up a poignant and moving tale about a young boy coming to terms with the loss of his father. The heart in E.T. reveals just how personal this story was (certain scenes were apparently taken from Spielberg’s life). E.T. is a textbook example of Spielbergian cinema (and helped define that phrase). Powerful, exciting, wondrous and epic. A classic, possibly the classic family film.
5. Indiana Jones and the Last Crusade
Indiana teams up with his father in the most fun adventure of the series. The Nazi’s return as chief villain as Indy must find the Holy Grail before they do. With Connery playing against type, he becomes the perfect foil for Ford’s Indy. River Phoenix plays a young Indy in a film beloved for revealing so much of Indy’s past. The set pieces come thick and fast and the films plays as much as mystery as it does an action adventure. Sadly The Last Crusade wasn’t quite Indy’s last adventure.
4. Jurassic Park
Epic and intimate, all within a matter of moments. There are few scenes in Spielberg’s cinema more iconic and simple than the sight of a cup of water reverberating to thud of impending dread. Jurassic Park is a perfect film. After an initial, expository opening act, Spielberg continues to raise the bar with barnstorming visual effects and astonishing action sequences. Tension, terror, moments of horror and stunning action scenes surround a simple, moving story about one man coming to terms with being a father. Sam Neill has never been better, nor as Jeff Goldblum. Jurassic Park is the perfect blend of story and action, character and plot – a film which is as wondrous to adults as it is for children.
3. Schindler’s List
Spielberg’s most serious film to date. Dealing with the true life story of Oskar Schindler who managed to the save the lives of thousands of Jews. List works because Spielberg’s sombre subject matter beautifully offsets his sentimentality. But Schindler’s List is a major turning point in Spielberg’s career, when he truly embraced a more mature and adult approach to cinema, and turn is immense skill to the most sombre of subjects. He never shies away from depicting the harrowing moments, and these make us cherish the triumphant achievements throughout the film. Neeson, Kingsley and Fiennes are all superb, and Spielberg’s direction is faultless. A bone-fide masterpiece.
2. Raiders of the Lost Ark
One day Raiders of the Lost Ark will be used as an example of how “they don’t make them like they used to”. The disappointing and joyous thing about Raiders is that they never made ‘em like that. Indiana Jones was George Lucas’ and Steven Spielberg’s attempt to recreate the Saturday morning adventure serials they grew up on. With Raiders of the Lost Ark they created arguably the most iconic character in the history of cinema. From the classic opening sequence, arguably the greatest ever, to its finale Raiders is pure cinema. A perfect blend of action, comedy, romance and intrigue, it has something for everyone.
1. Jaws
Spielberg’s masterpiece, and only his second feature. A film so perfect that not even a constantly breaking shark named Bruce could derail it. At just 27 Jaws is as much an astonishing achievement for Spielberg as Citizen Kane was for the 25 year old Orson Welles. Without realising it he invented the modern blockbuster. Part of this was due to Universal’s unprecedented decision to release the film across the country at the same time, rather than the traditional staggered release. The first film to make $100 million dollars at the box office it was a film as unstoppable as the shark itself. Thanks to the unmatchable trio of Roy Scheider, Richard Dreyfuss and Robert Shaw, its a film which is as great in the heart-stopping action sequences as it is the small intimate ones. Williams paired back, simplistic score set the tone for a film which still shocks, scares and delights cinema goers today.
And the worst…
Spielberg is so often so great that his disappointments seem grander and more epic than most directors. As a result you could argue that critics are especially harsh when his films fail to live up to the high expectations.
Recently though Spielberg seems to have lost his touch. Since Munich, he has directed three films (Tin Tin, Crystal Skull & War Horse) All three failed to live up to high expectations we have of him. But one in particular stands out as a definitive failruee. His return to Indiana Jones territory was worrying from the outset. It was Lucas who was so adamant to return to the franchise (and we all know how bad an idea it can be to let Lucas return to successful franchise), but fans worried an aging Ford could still be Indy, and despite positive casting (Winstone, Blanchett, Hurt and even Karen Allen, returning as Marion from Raiders). But, ultimately all our fears were realised. Kingdom of the Crystal Skull was such a monumental failure because it forgot how to capture the excitement and old fashioned allure which the original films captured. What was most disconcerting, though, was how Spielberg didn’t see how the “surviving an atomic blast by hiding in a fridge”, the monkeys, and the inter-dimensional beings wouldn’t work. Part of blame could be placed at Lucas’, but Spielberg seemed to loose his ability to create wondrous moments which have constantly appeared during his career.
Indiana Jones and the Kingdom of the Crystal Skull felt so disappointing because it somehow destroyed a character who has become beloved by all. The sight Indiana Jones’s eyes peer out from beneath the brim of his hat is one the single greatest moments in the history cinema. Indiana Jones has, in the time since the Last Crusade, become part of our culture, part of us, and as such we feel a sense of ownership over the character. So to see him in such a unfulfilling adventure felt especially disappointing.
But, with Lincoln being a return to genuine, adult filmmaking, and Spielberg having not directed a great film since 2005, hope is that he can return to form.
Gangster Squad opens with LA Crime lord Mickey Cohen (a prosthetically enhanced Sean Penn) delivering a message to the gangsters back in Chicago, by splitting a man in half and letting dogs feast on his innards. This gruesome act takes place under the Hollywood sign and instantly tells the audience that this is Los Angeles. You could be forgiven, following this opening, for thinking that Gangster Squad is going to be a hard hitting, no holds barred gangster film, and in many ways it is. But that is only half the story.
The films title, Gangster Squad, reveals more about the style and tone of the film than the violent opening. The film plays more like pulpy 40s comic book than The Untouchables – the films closest forebear in terms of story. Its mash-up of The Untouchables and Dick Tracy. Directed by Ruben Fleischer, who’s previous efforts include the hilarious Zombieland and 30 Minutes or Less. Flesicher has tried to do for the gangster genre what he did so well for the zombie horror genre. He half succeeds, for Gangster Squad, over its 2 hour running time, is fast, stylish and effortlessly watchable. Unfortunately its also fairly lightweight.
Packing an ensemble cast to die for; Josh Brolin, Ryan Gosling, Sean Penn, Emma Stone, Michael Pena, Nick Nolte, Robert Patrick, Anthony Mackie, Giovanni Ribisi and Mireille Enos, makes it easy to overlook the weaknesses and tonal misfires. The swift pace, which leaves little for character development, instead provides each character with introductory, archetype setting scenes so the audience knows exactly what to expect; Brolin, incorruptible, single-handedly takes down one of Cohen’s whore houses, when a young wannabe movie star becomes the latest victim. Gosling plays on his looks, as the dumb, but kind-hearted love interest to Emma Stone’s Grace. Another wannabe movie star who was caught uo in Cohen’s web – becoming his floozy. Gosling and Stone recapture the chemistry from Crazy Stupid Love which helps you forget just how contrived this subplot is. Making up the rest of the squad are Ribisi’s intelligence and surveillance expert, Mackie’s rough, tough knife-wielder, Robert Patrick’s gunslinger, who could have stepped out of a western and Pena’s earnest and try-to-hard Mexican. They’re a good group who’s banter is fun and entertaining, if often inappropriately causal following the violence they perpetrate.
Despite its failings though, what makes Gangster Squad work is that it isn’t your usual cops vs gangster/ good vs bad storyline. Brolin’s Sgt John O’Mara is a former soldier, not long returned from the War. He’s a man who was trained to fight against oppression, and he knows how to do little else. But also he’s a man who fought so he could return to a relative paradise (LA). A paradise which has been invaded by Cohen and his mob. It’s this dynamic that makes the film work. Gosling, who as always is very good, is given slightly shorter shift. His main motivation throughout is wooing Emma Stone. But then it is Emma Stone, and their chemistry is superb. Stone, to her credit, is as strong as she can be playing another of Cohen’s possessions, one Gosling’s comically named Jerry Wooters takes pleasure in stealing. Mireille Enos, as the films only other notable female character is much stronger as O-Hara’s pregnant wife, worried that the husband she only recently got back from the war may soon be lost to her again. She is a strong woman, critical initially for fear their child will grow up without a father, but ultimately as much a part of the squad’s success as any of the badge wearing members.
Gangster Squad is also a film which completely embraces its period setting. It might lack the seriousness of LA Confidential of The Untouchables, but it certainly equals them for period detail. Costumes and sets are superb – and although the film leans heavily to comic book stylings, it does so whilst never losing the sense of authenticity for the late 40s period. Fans of which can revel in the detail and little touches.
Taken as it should be, Gangster Squad is a fun, violent and thoroughly entertaining pulpy crime drama. Many will criticise its tone, and often it struggles to balance between serious and throwaway, but Fleischer has delivered an accomplished thriller with strong, archetypal characters that are easy to root for, and the ensemble cast should provide enough entertainment for most.
Ang Lee is a director who can seemingly turn his hand to any genre or subject matter. Best known for martial arts masterpiece Crouching Tiger, Hidden Dragon and tragic romance Brokeback Mountain, Lee’s other work such as Lust, Caution, The Ice Storm, Sense and Sensibility and even Hulk demonstrates a versatility which is uncommon in modern cinema. Life of Pi similarly showcases Lee challenging himself in new and interesting ways.
Based on the best selling book by Yann Martel, Life of Pi, on the surface looks like a difficult film to adapt, as most of the story takes place in the middle of the Pacific ocean, with one character trying to survive on a small boat with a increasingly hungry Tiger. As fascinating as that might be, it feels incredibly uncinematic, yet Ang Lee, and screenwriter David Magee, are more than equal to the task. The decision to film in 3D is perhaps the first example in the modern 3D trend of a film which is enhanced, and can only truly be told with the aid of the third dimension.
From the opening title sequence, Lee demonstrates a flair for 3D filmmaking which even James Cameron hasn’t achieved. After the establishing moments, which set the scene and provide a compelling, funny and charming opening act, Lee thrusts us into a number of stunningly visual set pieces and use of 3D which is more than just purely aesthetic. Lee uses the 3D to add immense depth to this wondrous and foreign world, but also employs it to transition between the framing story (starring the always excellent Rafe Spall as a writer and Irrfan Khan as the old Pi retelling his tale) and the fantastical experiences he has. The storm which causes the ship to sink is breathtakingly realised in 3D. It’s a jaw dropping sequence as the pelting rain from the storm, Pi, the lifeboat and the ship all exist on different planes of the 3D. Later, as the story sweeps into the magical, hallucinatory moments of the story the 3D enriches and engulfs you creating some of recent cinema’s most beautifully filmic moments. It truly is spellbinding.
The first act is captivating, thanks largely to Gautam Belur (playing Pi aged 5) and Ayush Tandon (playing Pi aged 12) who are both excellent, and the scenes in the school are brilliant, showing Pi develop into the strong, resourceful and intelligent character which will put him in such good stead when adrift at sea. But this is Suraj Sharma’s show. Aside from the visual effects he carries the film and is incredibly watchable and believable for the entire film, even though he only has a CGI Tiger to work against.
The real star of the film though is the CGI. Richard Parker, the Bengal Tiger, is as much a leap forward in visual effects as the dinosaurs in Jurassic Park or Gollum in Lord of the Rings. At no point in the entire film do you doubt the realism of the Tiger (or any of the computer generated animals). Its a stunning achievement and the film is worth seeing for that alone.
However, there are problems with the film. Once Pi finds himself at sea there is a real lack of story as the film becomes a series of jaw dropping set pieces. And as the film reaches it climax a scene on a mythical island stretches the suspension of disbelief. Thankfully, by this stage Lee has swept his audience away so completely that its hard not to just go with it.
Life of Pi is a sumptuous, stunning and breathtaking piece of cinema which includes the best visual effects of the year and 3D which finally enhances the story. It is hard to imagine the film having the same impact in 2D. Something I never thought I’d say. With great performances and a metaphorical exploration which will linger long in the mind, Life of Pi is cinematic treasure, and unlike anything you’ll have ever seen. See it.
Tom Cruise’s latest film is a strange beast. Part action film, part crime thriller, its a film which doesn’t seem to know what it wants to be and as a result falls disappointingly somewhere between the two. After a captivating opening sequences which sees a sniper prepare and execute five seemingly random people Jack Reacher gradually becomes less and less compelling.
As Reacher, Cruise is miscast, not because in Lee Child’s book’s the character is 6’5″ but because the character in the film offers very little for him to do. As a result, like the film itself, Cruise’s performance is somewhere between Ethan Hunt in Mission: Impossible and Vincent in Collateral. We’re told that Reacher is phantom, a ghost, who was once a military police officer, investigating crimes committed by soldiers, but hasn’t been seen or heard from for over 2 years. As this conversation takes place (between Richard Jenkins and David Oyelowo) a secretary comes in to announce Jack Reacher is there to see them. It’s one of a number of misjudged moments (the best of which comes when Reacher is trying to evade chasing police officers) which is meant to raise a wry smile, but actually just feels incongruous, and somewhat undermines the severity of the assassinations and leaves us with a confusing picture of who Jack Reacher is.
Reacher is somewhere between Dirty Harry, a cop who will do whatever it takes to see justice done, and Jason Bourne, an incredibly well trained individual who is not to be trifled with. And yet, despite the mouthwatering prospect that blend promises, the film never once delivers. The fights scenes are effective, but ultimately forced and in one instance, thanks to two buffoonish henchman, turns the scene into comedy. The chase sequences are effective but rarely raise the pulse. This may be a result of Christopher McQuarrie’s direction (he is in no way an action director) but could equally be a result of failing to show the ingenuity and instinctive thought process we have come to expect from our action heroes.
The story itself is also undermined in the opening sequence. A former sniper who served in Iraq, though never fired his weapon, is framed for the murders of the 5 innocent victims. However, the first half of the film is spent showing Reacher and defending attorney Helen (a very good Rosamund Pike) working out that their may be more to this case than first appears. It means as the audience we know more than the supposedly ace Reacher, and until he and Helen cotton on, the film really drags.
Jack Reacher also falls flat in its villains. Jai Courtney, who will be seen next in A Good Day to Die Hard playing McClane jnr, takes on chief henchman duties working for Werner Herzog. One scene, revealing Herzog’s The Zec’s backstory is genuinely disturbing, but he spends the rest of the film sat down trying to look evil. As its Herzog he manages it rather easily, but as a character he is massively restricted and we never fully understand or appreciate his motives. The same is true of Courtney, who is good, but has so little to do, other than look mean and occasionally fire a sniper rival.
Jack Reacher looked like it could be the next franchise for Tom Cruise. But as a first instalment this film is rather disappointing mainly because Cruise and McQuarrie never fully commit to creating a action thriller with a genuinely unique and original central character. Any film which decides to be named after the main character needs to create a main character who audiences are in awe of, but instead Reacher comes across as a poor hybrid of so many other cinematic action heroes without any distinctive features to make him stand out.
2012 has been an interesting year for film. Ridley Scott returned to both science fiction and the Alien franchise, releasing the muddled anti-climatic Prometheus. Peter Jackson finally released part 1 of The Hobbit to much anxiety and discussion about his HFR (High Frame Rate) and decision to turn the book into a trilogy of films. Christopher Nolan released arguably the most eagerly anticipated film of the year, The Dark Knight Rises, his conclusion to his Batman trilogy. Universally adored by the fan base, the film was perhaps the most fitting end to a trilogy ever. The true behemoth of the summer though was Marvel’s Avengers (called Avengers Assemble in the UK). The mega blockbuster could so easily have faltered that its monumental success was almost unbelievable.
The film critics and cinephiles were most excited about though was Paul Thomas Anderson’s The Master. Anderson has begun to take on Kubrickian levels of reverence and The Master could so easily have fallen short of expectation. Its limited release in 70mm was, for me, the cinematic highlight of the year, even overshadowing The Dark Knight Rises at the IMAX (with a full 79mins of IMAX footage), But The Master served only to draw attention to the reality that 2012 was perhaps the final death knell for real film. Cinema’s across the country seem to have fully adopted the digital projection – and already issues are beginning to rear their ugly head. At a screening of Silver Linings Playbook the film was delayed due to a server rebooting. Not something you ever had to worry about with projectionists.
Bela Tarr’s Final Film
For British cinema the pinnacle was the return, on his 50th anniversary, of James Bond. At the time of writing Skyfall has become the highest grossing film ever at the UK box office. It was a glorious return to form following the disappointment of Quantum of Solace and the creators infused the film with enough patriotism that clearly struck a chord with audiences in a great year for Britain in general. Other notable releases included Steve McQueen’s follow up to Hunger, Shame – starring the magnificent Michael Fassbender. Ben Wheatley followed up last year’s terrifyingly superb Kill List with Sightseers, the blackest of comedies.
Bond proved himself to be Britain’s greatest cultural export
In world cinema, Michael Haneke returned with Amour, collecting his second Palme D’or at Cannes. Leox Carax ended a 13 year feature hiatus with Holy Motors, Jacques Audiard returned with Rust and Bone. Tabu was widely acknowledged and embraced as a celebration of silent cinema and one of the finest pictures of the year. 2012 will also be remembered by world cinema lovers as the year Bela Tarr directed his final film; The Turin Horse. An epic black and white film made up of only 30 shots, it was a fitting finale to one of cinema’s great directors.
One of many incredible moments for Holy Motors
Documentary film had a number of films to champion its continued success. Marley, Kevin MacDonald’s film about the late, great Reggae star, Searching for Sugar Man, another music documentary, this time about the long forgotton Rodriguez and finally The Imposter, which told the tale of a young French boy who impersonated a child who disappeared years before and managed to convince the family despite being significantly older and from a different country. The Queen of Versailles which documents the attempts of Jackie and David Siegel to build the largest and most expensive family home in America and the trouble they encounter when the economy crashed.
So, all in all, despite some major disappointments 2012 has been a pretty good year for cinema. Below are my Top Ten films of the year, and most of the them are truly exceptional works of cinema which make me very enthusiastic for the future.
10. The Raid
Gareth Edwards Indonesian action flick is unquestionably the best action film of the year. A bone crunching, non-stop onslaught of some of the best fight scenes ever put on film. The premise couldn’t be more simple. 20 cops invade high rise apartment block in an attempt to bring down a drug kingpin. From there all hell breaks loose in one of the most unrelenting visceral experiences you could ever hope to have.
9. The Avengers
It shouldn’t have worked. So high was the fanboy (myself included) hype and anticipation that The Avengers should have been a disappointment. It wasn’t. It was so much more than anyone could have dreamed of, that in many ways it is the best film of the year. Josh Whedon delivered the comic book of comic book movies. Funny, moving, action packed and with genuine heart The Avengers had everything in spades. At 2 1/2 hours it could have felt long. It didn’t. It felt, well, perfect. It was the perfect antithesis to Nolan’s dark brooding realist comic book films. Plus, the Hulk smashed. A lot!
8. Martha, Marcy, May Marlene
Martha, Marcy, May, Marlene is a powerful, difficult film to watch about the emotionally crippling effect a cult can have on a weak, fragile girl. With one of the best performances of the year from Elizabeth Olsen, the film jumps back and forth between her joining and becoming sucked in by the cult and her awkward, difficult attempt to escape both the members of the cult, but also the psychological effect it has had on her. Constantly shocking and compulsive viewing.
7. The Dark Knight Rises
Nolan’s Batman trilogy came a breathtaking conclusion. Tying together the thematic ideas set up in Batman Begins and delivering arguably the greatest comic book film of all time. After the monumental success of The Dark Knight it seemed impossible that Nolan could create something superior, but TDKR has grandeur and intimacy in equal measure and is as emotionally satisfying in the quiet moments as it is in delivering jaw dropping action set pieces. Nolan may have delivered his masterpiece in a film of unparalleled ambition.
6. Looper
In a year which saw Ridley Scott return to science fiction, Christopher Nolan deliver his final Batman film and the biggest and best superhero team assemble in Avengers, it was left to Rian Johnson to deliver the film of the summer. Looper was marketed as this decades The Matrix, and it delivered a story which was a fascinating and intriguing as it was emotionally rich. Superb performances from Bruce Willis and Joseph Gordon-Levitt who play older and younger versions of the same character underpinned film which used its science fiction trappings as a jumping off point for a story about the decisions we make and the lengths we will go to in order to protect the ones we love. No film this year has delivered a third act as powerful entertaining as Looper.
5. Amour
You get to a point with Michael Haneke where you expect every film he makes to be a stark, bleak remorseless masterpiece. Well, Amour is definitely a masterpiece. And it is stark and bleak, but what was most surprising was just how humane and emotional his portrait of a married octogenarian couple coming to terms with the two strokes of the wife is. It quiet, simple, elegant and beautiful. A film which will melt the hardest heart and may well be the best representation of true, unconditional love ever committed to film. A love so strong that the final scenes will have you weeping.
4. Cosmopolis
David Cronenberg delivers another fascinating boundary pushing cinematic experience. With the best ensemble cast of the year (Pattinson, Binoche, Morton, Giamatti, Amalric), Cosmopolis is perhaps the least filmic film of the year. Set almost entirely in the confines of a stretch limo it is a philosophical tour de force. As the world and capitalism crumbles and collapses around him outside, billionaire Eric Packer (Pattinson) watches as his empire disappears and the threat of assassination grows. Its a constantly fascinating, beguiling cinema.
3. Silver Linings Playbook
Silver Linings Playbook has its cake and eats it. It a subversive romantic comedy which ultimately conforms and delivers on every cliche of the genre. That it works, and is a magnificent film which leaves you feeling the way all great romantic comedies should is one of its many charms. The main charm though is in the dysfunctional, emotionally wrecked couple at the films centre. Bradley Cooper and Jennifer Lawrence deliver career best performances as two heartbroken (one through infidelity, the other through death) characters. As with most rom-coms, its not about the (always predictable ending) but the journey the characters go on and in the hands of director David O. Russell, this is the best romantic comedy is years. A pure delight.
2. Holy Motors
Of all the films released this year, Holy Motors is both the hardest to pin down, but also the most gloriously satisfying. A dream like, surreal love letter to cinema, and cinematic acting, it contains the years best performance (Denis Lavant). To describe what happens would not only fail to do justice to the film, but would also destroy the bizarre experience of watching it. Leos Carax’s first film since Pola X in 1999, Holy Motors is like nothing you will have ever seen before, and demands to be seen to not only be believed, but to be experienced.
1. The Master
Paul Thomas Anderson is fast becoming a director to develop a reputation on the level of Stanley Kubrick. His films are meet with such fervour and anticipation that they become events in themselves. The Master is no different, and may well be his best effort yet. Starring two performances for the ages from Joaquin Phoenix and Philip Seymour Hoffman, the film was marketed very much on its subject matter (a loose retelling of the birth of a Scientology-esque cult) but long after you’ve left the cinema and let the film soak in your subconscious what remains is one of the most impressive explorations of male friendship and the destructive and volatile relationship Freddie Quell (Phoenix) and Lancaster Dodd (Hoffman) develop. If you ever need to demonstrate the definition of a cinematic masterpiece to someone, show them The Master.
And 10 more films for your consideration
Argo
Once Upon a Time in Anatolia
Ted
Killing Them Softly
Your Sister’s Sister
The Cabin in the Woods
The Descendants
The Hobbit
Skyfall
Moonrise Kingdom
And the top 10 films this year I missed.
Tabu
Nostalgia for the Light
The Turin Horse
Rust and Bone
Anna Karenina
A Royal Affair
The Hunt
Alps
Marley
Young Adult
Ruby Sparks
Here’s hoping 2013 is as breathtaking and ambitious as 2012.
It’s been a long road from The Lord of the Rings Trilogy to The Hobbit. At one point, when Peter Jackson was embroiled in a legal battle with New Line Cinema, it seemed as though The Hobbit might never reach our screens. But when Guillermo Del Toro was attached as co-writer and director, excitement grew as to what the director of Pan’s Labyrinth and Hellboy might bring to Middle Earth. Delays meant Del Toro left the project long before principal photography began and Jackson stepped in. Recently the announcement that The Hobbit would become three films (not two) and Jackson’s decision to shoot in 48fps High Frame Rate also raised eyebrows. So The Hobbit comes to our screens with quite a lot of baggage, and sadly its hard to see passed it.
As a book, The Hobbit is a very different beast to Lord of the Rings. A single story focussing on Bilbo Baggins, it lacks the epic scope and feel of Tolkien’s trilogy as well as the battle against great evil, and the film suffers a similar fate. The central problem with the film is a lack of stakes. As Thorin and his band of loyal dwarves are only after reclaiming their lost gold, you never get the sense that failure would have an impact on the wider Middle Earth. Jackson and his writing team do a fantastic job of incorporating the rise of Sauron as a backdrop to the events of the film (thus closely linking the film to LOTR) but also in providing Bilbo a clearly defined character arc which sees him embark on the Dwarves mission as his love of Hobbiton makes him the perfect candidate to truly understand what the dwarves are fighting for. But as good as this is, its hard to shake the feeling that none of it really matters beyond the desire of the Dwarves to seek revenge and reclaim their home.
Another problem with The Hobbit is that it too closely resembles the structure of The Fellowship of the Ring. It’s a film which feels very episodic, and even treads similar ground to Fellowship. The final image is so reminiscent of Fellowship that for a brief moment you feel Jackson is making a spoof of the LOTRs. This is reflected in the novel, but Jackson doesn’t do enough to stop the film feeling too familiar, and therefore it lacks some of the wonder this time round.
The Hobbit is also far to long. With LOTR Jackson beautifully set up the world of Middle Earth, and the majority of those seeing The Hobbit will already be familiar with The Shire, yet Jackson indulges his love of the halflings by including an unnecessary framing story, set just prior to the party which opens Fellowship, which allows for cameos from Ian Holm and Elijah Wood. Jackson then spends time introducing each of the dwarves and Bilbo before finally setting them off on their journey. These moments are by no means dull as they allow us time to get to know the 13 dwarves as well as setting the tone for the film. But with some more effective editing the opening act could have had greater pace.
Then there is the High Frame Rate. Jackson spoke of shooting in 48fps for its improved image quality, and The Hobbit, at times, looks sensational. But, unfortunately, like 3D, HFR does not in fact create a more immersive experience. Instead it has the effect of pulling you out of the story as it looks so similar to live TV that it loses the cinematic feel. It even looks almost amateurish, like the most expensive student film ever made. However, in the epic battles scenes – of which there are many – the HFR works magnificently. Overall its so hard to see past the HFR, as every time there is an intimate two-shot it jerks you out of the story. This could just be because as audiences we are unused to watching film shot at 48fps, but The Hobbit has done little to justify it becoming industry standard.
Despite all of these issues though Jackson has delivered a triumphant, often exhilarating film which in its best moments equals anything achieved in the LOTR. Martin Freeman is perfect as Bilbo and completely steals the film. His stand out scenes coming with Gollum, as they play riddles in the dark. With many of the Dwarves lacking differentiation the film lacks the range of characters LOTR had, and so the weight of the film falls on the returning Ian McKellen as Gandalf and Bilbo. That Freeman’s Bilbo emerges as the films strongest element is a testament to his superb performance.
Since the decision was made to turn The Hobbit into a trilogy many fans have wondered how a book with less than 300 pages could be stretched to 3 films. The answer is almost provided in The Hobbit. Jackson has brought into the film the elements of The Hobbit which are merely hinted at. The rise of the Necromancer in the East, Radogast the Brown and the council of Gandalf, Saruman, Elrond and Galadriel are all given screen time. These moments are some of the strongest in the film, but ultimately draw attention to the lack of stakes involved in Thorin’s quest.
The Hobbit is a great film. It’s also a great achievement. But one which is full of flaws which niggle away at your enjoyment. It is definitely over long and sticks too closely to the format established in The Fellowship of the Ring to feel like its own film. But, McKellen and Freeman are superb, the visual effects are magnificent and Jackson again demonstrates his ability to take short passages from the book and turn them into epic spectacles. The Desolation of Smaug (glimpsed ever so briefly) and There and Back Again will almost certainly improve upon An Unexpected Journey as the remaining parts of the story have heightened drama and no need for set up as well as exploring parts of Middle Earth the LOTR never visited. But whether there is story enough for them to stand tall alongside Jackson’s earlier Middle Earth trilogy remain to be seen.
Fans couldn’t have hoped for a better Bond film to celebrate the franchises 50th anniversary. Skyfall is a perfect blend of homage to its tradition and heritage whilst simultaneously not allowing itself to be hampered by past experiences. The film is a towering achievement for the franchise and marks a significant return to form following the muddled mess that was Quantum of Solace.
But, Skyfall is also perhaps the least Bond film ever made. Despite its countless references, nods and homages to the history of Bond, Skyfall is another break from tradition. A film which demonstrates a franchise and character seemingly still going through an identity crisis and retreating to the comforts of recent influential franchises, Bourne and Batman. In fact Skyfall is so in the shadow of Bourne and more recently Batman that one wonders if the franchise will ever again set trends for action cinema – as it has in the past.
After an heart stopping, fast paced pre credits sequence which contains perhaps the last vestiges of Bond as we knew him, the film moves into the usual elaborate title sequence, accompanied by Adele’s theme song. Out of context, and away from the film, Adele’s song sounds like it fits perfectly with the classic Bond themes of the past. But here the song feels insignificant and means Craig’s Bond era still lacks an iconic opening title sequence and song.
Once the film kicks in it becomes clear that the modern world has had an impact on Bond as we knew him. Thankfully the filmmakers have decided to eject the new Bond seen in Casino Royale, instead delivering a greying, jaded Bond who is seriously considering leaving the espionage game behind him. The world has moved on and Bond risks being left behind or worse. Craig excels in these scenes, as his grittier and more real Bond feels much more human and therefore vulnerable. The wounds he has endured for his service are both internal and external. A theme which runs throughout Skyfall.
Its not long though, following an attack on London, that Bond is back in the service of his country. M (Judi Dench), taking on a much more significant role here, puts him through his paces, to ensure he is good enough to return to service, as an enemy emerges from her past. Enter Skyfall’s only real villain – Javier Bardem’s Silva. Bardem is the stand out in Skyfall, and so impressive, the usual string of henchman really aren’t needed. He is a distorted mirror image of Bond, or what Bond could become. His introduction breathes live into the film, elevating it from a solid, entertaining Bond entry, to a tantalisingly mouthwatering film. As Silva, Bardem rivals Bond’s best enemies, and remains a constant threat throughout the entire film, both literally and psychologically. He forces both Bond and M to take a long hard look at themselves, to doubt and question their decisions, and their loyalties. It helps the film turns the spotlight on Bond as a character in a way never attempted before.
However, therein lies one of Skyfall’s great weaknesses. Fans love Bond because he saves the world without barely breaking a sweat. Here however, he is only saving M and by extension his own way of life, and only just managing to do so. There is no great, world destroying element at stake here. This low key approach has marked all of Bond’s recent entries, and in Skyfall the stakes simply never feel high enough. Casino Royale worked because it hinted ever so subtly at a bigger, world threatening force operating in the background. That threat became Quantum, but Quantum of Solace failed to deliver. By becoming more introverted Bond has lost something.
Sam Mendes handles the action well. Known for his personal dramas, one could be forgiven for expecting this to be a more low key Bond, and its true the personal scenes, such as Bond’s first encounter with Silva, and when Silva and M come face to face are some of the strongest moments. Thankfully though, Mendes delivers action set pieces to rival the best Bond.
Skyfall Craig’s best Bond, and the franchises finest entry since Goldeneye. The action is breathtaking, from the opening sequence to the grippingly inventive finale which provides a welcome dose of emotional investment uncharacteristic of a Bond film. What it lacks in stakes it more than makes up with emotional resonance and a story which rings true in a modern world. But doubts still linger about a franchise which doesn’t feel at ease with itself anymore. As the world and cinema has changed Bond has been forced to adapt. Skyfall harks back to what made the character great, but in doing so reminds us of just how old fashioned he is. When Bond returns it would be great to see him emerge from the shadows of other franchises, and begin to take the lead for others to follow.
This review was originally written for Britflicks and published here
Normal is a fascinating exploration of the sex industry in UK and Europe. A simple talking heads documentary which picks up on six people involved in the sex industry.
By intercutting between each story we learn how women and men from Eastern Europe find themselves caught up in the sex industry, trafficked overseas, and sold into prostitution. What’s also fascinating is the films decision to include stories from both prostitutes and pimps/traffickers.
Pulled together by directed Nicola Mai, an anthropologist who has spent years researching sex trafficking, the film is a curious blend of fact and fiction. Due to the need to protect those he interviewed, many of whom are still in the industry, or in the case of the pimp and trafficker, looking to avoid inevitable prosecution, Mai elected to hire actors to play the parts of each of the 6 individuals stories that feature in the film.
In doing so Mai elevates the film from a pure documentary into something else. As you watch these often harrowing tales of young people whose lives are ruined either through choice, ignorance, blind naivety or just misfortune you are distanced from the stories by the incredible and utterly believable performances of the actors.
Mai, having such a wealth of knowledge and experience in this field is also adept at presenting the range of issues sex trafficking presents whilst at the same time avoiding making any judgements. The title Normal derives from each characters overuse of the term to describe both what they longed for in making the decisions which led them into the sex industry, but also in how that industry works.
In being so simple, and presenting the realities in a matter of fact manner, Mai is also able to allow the characters to express how they feel about their lives. So, on the one hand you have prostitutes who take up a position as victim as a way of coping with their reality. At the other end of the spectrum some take full responsibility for their actions (one even got out of the industry, escaping her life through deportation, only to come back and become a prostitute again, albeit under different circumstances).
Normal is an intriguing documentary which never panders to its audience, instead presenting a very honest, balanced view of a world which is pushed to the fringes of society, or viewed through an obscure lens by most. Mai’s experience as an anthropologist enables him to coax intimate, truthful stories from his subjects, and by using actors allows both for a more revealing and rewarding experience.
Or How I Learnt to Stop Worrying and Love to Blog is a celebration of cinema.
Ben Keightley has a BA in Film Studies and Screen Practice from Roehampton University and has just completed a MA in Screenwriting at London College of Communication. His favourite film is 2001: A Space Odyssey.
On Boxing Day 2004 a Tsunami hit the coast of Thailand and the surrounding countries leading to the worst natural disaster of recent times. 300,000 people lost their lives and the region is only now recovering from the devastation. The Impossible is the true life story of one family who endured, and survived, the experience. 
