Hereafter (2011)

Clint Eastwood is a movie icon. I just want to put this simple fact out there. If you're reading this and doubting that he's anything less than a genius, then just stop right now. 'Gran Torino' was one of my favourite films of 2008 and showed that Clint still had that moviemaking magic. Fast forward to 2011 and this time he's taking a seat firmly behind the camera for drama film 'Hereafter'. Is this Eastwood's swansong or a sign he should throw in the towel?

Well 'Hereafter' is an unusual film in that, it's really three films all rolled into one. We have Matt Damon as a retired psychic, a French journalist who survives a tsunami and a young boy whose older brother is killed. The link between these story arcs is where the film's title comes in. 'Hereafter' meaning life after death (the afterlife). Each of these characters have been affected by death in some way and the film attempts to show how it can change and alter the course of a person's life.

Now going into this I'd heard fairly negative things about 'Hereafter'. Most of the criticism is directed at the multi-layered plot - with some going as far to say that the film should have just concentrated on the psychic George Lonnegan (Matt Damon). While I agree this is the strongest of the three tales, I think it's unfair to disregard the other two stories, as they both have their merits. The weakest plot out of the three is the French journalist Marie Lelay (Cecile de France). The actress in question gives a fine performance but I didn't feel like enough time was invested in her character. It almost felt like the sections involving her were slightly rushed.

However, the story involving the young Marcus (Frankie McLaren), whose twin brother is killed (George McLaren), is a good example of how multi-narratives can work well. These two young actors and Damon's heartfelt performance lift the film above what would otherwise have been a fairly sedate drama. The questions that arise about the afterlife are nothing we haven't seen before. The ending is predictable but ties up any loose ends and you won't leave the cinema feeling cheated (unlike some films I could mention, *cough 'Buried').

'Hereafter' feels like it could have had the makings of a great film (given the director and lead). It just never quite reaches the dizzying heights it so desperately strives for. Still, I'm quite surprised it only received one Oscar nomination for Visual Effects. I still very much admire you Clint but maybe next time you could make a movie that doesn't make me feel like I've crossed over to another world (where you don't make excellent films).

Blue Valentine (2011)

I need to take a deep breath before I start this review. The reason being I've just finished watching Derek Cianfrance's 'Blue Valentine'. This is a film that knocks you for six. It grabs you by the throat and refuses to let go. But more on that later. Let me start by saying Drama has always been my favourite genre of film. Sure Comedy is upbeat and makes you laugh. Action is exciting and thrilling. But Drama is a different kettle of fish. It makes you feel. It takes you back to moments in your life where you can relate to the events unfolding onscreen. It approaches you at your most vulnerable and unearths a whole wealth of human emotions. And by god, Cianfrance will make you feel every single one of them over the course of 112 minutes.

What's that you say? - surprise, surprise another Academy film. Well yes, like it or not 'Blue Valentine' is another Oscar tipped film (although far less so than 'The King's Speech'). But it's not the director that will be the most likely choice for an award, or indeed the film itself. It's the two leads. Ryan Gosling and Michelle Williams are 'Blue Valentine'. No one else could have portrayed their roles with such passion and conviction. Of course, they're both up against some extremely tough competition in February (but more on that after the nominations have been announced).

'Blue Valentine' calls itself a love story. But it's only a love story in the most loosest of senses. Like '500 Days of Summer', the outcome is in no way clear cut. And like Marc Webb's film, the events are told in a nonlinear fashion. We follow Dean Pereira (Gosling) and Cindy Heller (Williams), showing their tumultuous relationship as it is now, and as it used to be. Dean meets Cindy after she has a rocky encounter with her now ex-boyfriend Bobby (Mike Vogel). It is his daughter Cindy eventually ends up giving birth to and Dean agrees to look after them and become a family. This happy-go-lucky life is contrasted with the events of the present day. Dean and Cindy are having marital problems and escape to a cheap motel for the weekend. Here they lose themselves even further. The polar opposites between the love they shared in the past and the loveless marriage they are currently trapped in allows the audience two sides of the relationship. Both characters are extremely likeable and you'll find yourself yearning for a positive outcome.

Cianfrance's drama is a tough film to watch, both in mood and events. One or two scenes in particular caused a bit of a stir with the age classification board. I think the distress comes not from what is actually happening but the fact that 'Blue Valentine' feels so real. The film was shot in a very unique way - the flashbacks in Super 16mm and the present in RED. This gives the film a very raw look which feels beautiful and melancholy at the same time. Gosling and Williams both agreed to live together before the film so they could allow themselves to get into their character's heads - staging arguments, going shopping etc. All of this (plus the haunting soundtrack by Brooklyn band 'Grizzly Bear') allows 'Blue Valentine' to feel more intimate. And that is exactly what you want from a love story like this.

The true stars of the film are of course Gosling and Williams who both give phenomenal performances. I for one will be crossing my fingers for them in February. But even if 'Blue Valentine' doesn't win any awards, it's still a fantastic piece of moviemaking that I'm sure will be spoken of for a long time to come. Cianfrance, I'd take one of your films for every hundred soulless and vapid 'love stories' that Hollywood churns out day in and day out. It's a real shame more people don't share this view. After all, the majority of us don't see life through rose-tinted glasses and I salute any filmmaker brave enough to show us the truth.

The King's Speech (2011)

Well here we are. After a long wait, many trailers and an overuse of the word 'Academy', 'The King's Speech' is finally with us. Expectations were very high going into this. After all, it has a stellar cast and an extraordinary story that couldn't possibly fail, right? Join me as we walk the red carpet and see if it truly deserves the royal treatment.

I can't quite remember the exact date I first heard about Tom Hooper's period drama. But I do know, the buzz surrounding it was huge, even all those months ago. The problem with a speeding hype train, of course, is the impending explosion that erupts if it fails to reach it's intended destination (you, the audience). Thankfully, you're in safe hands with Hooper, Firth, Rush and the rest of the cast.

'The King's Speech' meticulously explains the true story of King George VI (formerly the Duke of York), played by Colin Firth. His stammer causes him great problems, especially during public speeches so he seeks help with a therapist (Geoffrey Rush). From here the two build up a powerful relationship which culminates in the most important speech the King will give.

Hooper's drama is an actor's film through and through. This is the very reason it stirred so much attention before the Oscars. Firth, Rush, Bonham Carter, Gambon - it's a tour de force of the best in the business. Firth is fantastic throughout playing a very difficult role which requires great timing (due to the stammer). And my money is on Rush to win Best Supporting Actor for his role as Lionel Logue. He gives one of the finest performances I've witnessed in modern cinema. There's actually not a single negative point I can make about 'The King's Speech'. The acting is sublime, the story is well crafted. I felt genuine shivers watching Firth deliver the final speech. It's also worth noting that Hooper brings a tremendous amount of humour to an otherwise, very serious script.

Now perhaps 'The King's Speech' is the obvious choice at the Oscars. And that would be right on the mark. But when it's this good, surely that's not a bad thing. No matter what happens in February, I think Hooper and the rest of the cast deserve a standing ovation and a truly regal reception.

127 Hours (2011)

As I ventured forward through the dark double doors of the auditorium to view Danny Boyle's latest film, I was sightly skeptical. I've never been completely convinced of the merit of claustrophobic cinema (movies that take place, for the majority, in one location and with one character). If we're playing the blame game, the finger would have to be pointed at Rodrigo Cortes. Last year's 'Buried' should have been fantastic but left me feeling cold and questioning this new genre of cinema. But then again, Danny Boyle isn't a director who's afraid to take risks. So 127 hours (94 minutes in real time) later, is this film worth taking the plunge?

The tagline sums it up better than I ever could. 'Every second counts'. And this is particularly true for Danny Boyle's life-affirming tale of endurance and courage. You can't help but fall in love with Aron Ralston (James Franco). He's a live-on-the-edge kind of guy. This is a flawed man, sure, but he also has a refreshing air of honesty about him. Franco is perfect for this kind of character. It's almost like this is his persona off camera. At no time does it feel like he's running through the motions. Underneath an exterior layer of humour and confidence lies sadness and regrets. Aron is a loner when he sets out to climb an isolated canyon in Utah. Besides two women he meets near the start of the film (Kate Mara and Amber Tamblyn), the remainder of the film is mostly just Franco and his handheld camcorder. A few secondary characters appear in the form of flashbacks (including the beautiful Clemence Poesy of 'Harry Potter' fame).

Simply put, If Franco's performance failed, '127 Hours' would. In this genre of cinema, the audience needs to be able to connect with the character immediately or all is lost. Luckily Franco is a very genuine actor and perfectly portrays Aron Ralston. The fact that it's based on Ralston's autobiography is just the icing on the cake. Even if this wasn't a true story, it would still be a fantastic piece of cinema. Boyle is no stranger to uplifting films (see 'Slumdog Millionaire') but he really outshines himself here. The way the movie is shot is entirely unique. I was foolish enough to believe the film had nowhere to go when Aron is trapped early on but it was the exact opposite. A word of caution to viewers of a nervous disposition - the infamous scene where Aron cuts his arm off is handled very realistically. The scene was shot in one-take and Boyle wanted to make it as medically accurate as possible. The camera doesn't shy away from the more graphic details.

There are so many great aspects of '127 Hours' worth mentioning. The amazing story without which none of this would be possible. Danny Boyle's artistic direction. James Franco's worthy performance. The beauty of the Utah landscape. The realism which ozzes out of every seep of rock. I came out of '127 Hours' feeling grateful for my life and the people in it. I await your next film with quiet awe Mr Boyle.

Black Swan (2011)

Just a brief glance at that striking image of Natalie Portman on the poster lets you know that 'Black Swan' is a film about appearances. Or rather, it is a film about the deceptive nature of appearances. Darren Aronofsky (of 'The Wrestler' fame), uses the simple setting of a ballet perfomance of Swan Lake to mask a story that is filled with falsehood and doubt. White Swan vs Black Swan. Good vs Evil. Reality vs Fantasy. Shall we follow him down the rabbit hole?

You bet we will. Because once you allow yourself to be captivated by this psychological and magestic thriller, there is no turning back. Aronofsky has clearly done his homework when it comes to ballet. The choreography during the dance scenes (of which there are many) are a lesson in beauty. This is crucially important to the film as it gives it a sense of realism. Make no mistake, ballet is at the forefront of 'Black Swan'. The story follows our protagonist Nina Sayers (Portman), as she deals with the pressures of being offered the lead role in a new performance of Swan Lake. Cast as the Swan Queen, Nina faces her hardest challenge yet. Finding the passion needed to perform both in her comfort zone (as the White Swan) and most importantly, out of it (as the Black Swan).

Themes of acceptance and letting go of reality are identified early on in the story. Nina's director Thomas Leroy (the brilliant Vincent Cassel) is an overbearing force who believes Nina lacks emotion (indeed, referring to her as frigid at one point). Once this simple idea is planted, Nina starts to spiral out of control. This begins with the arrival of fellow ballet dancer Lily (Mila Kunis), who is also eager for the attentions of Thomas. As Nina becomes more involved with her performance, she loses her grasp on reality. And that's all I wish to tell you about the plot. As with any psychological thriller, it's important that the audience are kept guessing right until the end. What is real and what is simply in Nina's mind?

Aronofsky portrays the story almost like a ballet piece in itself. The soundtrack that plays pretty much throughout, is a heady and dreamy mix of compositions designed to create this sense of detachment. Intense scenes are built up through music and at times you feel like Swan Lake is unfolding before your very eyes. And like ballet, 'Black Swan' is an emotional rollercoaster. Not least because of the sublime performance that Portman gives. She conveys beauty in ithe most fragile way and her loss of innocence is both tragic and difficult to watch. Sexuality is a central theme in 'Black Swan'. Nina is forced to explore her lack of sexuality in order to find the passion needed for her performance, and also to free herself from the confines of her mother (Barbara Hershey).

Cassel is excellent as always and Kunis, although given less time onscreen than she deserves, is a powerful presence throughout the movie. One or two of the more sexual scenes felt a bit too graphic and out of place for a film that is so concerned with beauty. But perhaps this extremity was necessary to give us an insight into just how fragmented Nina's mind becomes. While 'Black Swan' doesn't quite reach the towering heights of Aronofsky's last movie 'The Wrestler' (and let's face it, few can), it does make for an emotional feast of a film. It will be a travesty if Portman doesn't win Best Actress at the Academy Awards this year. I've never been so captivated by the beauty and elegance of a leading lady onscreen before. When 'Black Swan' hits cinema, I urge you to go along and suspend all preconceptions. Aronofsky, I think I'll stay down this rabbit hole with you for a bit longer thanks.