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Inside Llewyn Davis (2013)
The Coens return to form with tale of struggling musician in tribute to 60s New York folk scene
The Coens have always defied easy categorisation. From slacker, The Dude, in their unorthodox film noir homage, The Big Lebowski to Marge Gunderson, the pregnant small town policewoman in Fargo, their protagonists aren't normally shaped in the archetypal hero mould. The same is true of Inside Llewyn Davis, the chronicle of a few days in the life of the eponymous struggling folk singer (Oscar Isaac). Although Lleywn's life is perhaps more straightforward than the aforementioned characters who find themselves embroiled in kidnapping and murder plots, he nevertheless shares the predicament of being out of his depth in extraordinary surroundings. Indeed, his situation could be said to reflect that of Larry Gopnik in 2009's A Serious Man who struggles to adapt to dramatic changes in his everyday life.
On this occasion we find ourselves in the rising folk scene of 60s Greenwich Village, New York. Lleywn Davis is giving a heartfelt, soulful performance at the Gaslight Café in front of a small intimate crowd who reward him with warm if not necessarily rapturous applause. Five minutes later he has been assaulted in the alleyway outside the café by a complete stranger posing as a friend. It's the type of irreverent scene reminiscent of many of the Coens' characters and indicative of the type of life our titular hero leads. Moving from place to place, harbouring the much sought after dream that his published record will be a success, his existence is a nomadic one. To think that this is an idealised, over sentimental portrait would be a mistake though. From shamelessly taking advantage of the slightest acquaintance to secure a bed for the night, deprecating other aspiring folk artists like himself and sleeping with one of his best friends' (Justin Timberlake) girlfriend (Carey Mulligan) Llewyn is far from likable. We root for him nonetheless though as his relentless pursuit of his dream takes him from the dingy studio apartments and record studios of New York to the freezing colds of Chicago and the promise of a nightclub gig...all without a winter coat.
Inside Llewyn Davis is not one of the Coens' best (though thankfully better than True Grit) but it remains a solid portrayal of the almost men that history tends to forget as well as a poignant tribute to the folk scene. With unedited, full length songs and numerous shots of languidly smoking audience members settled behind rickety tables and coffee cups, we are immersed in immaculate period detail from beginning to end. Oscar Isaac is powerfully understated as Llewyn, abrasive and facetious but also sad and frustrated at his continuing failures. In one particularly moving scene he almost breaks down when the mother of his dead partner – who committed suicide – begins singing her son's lyrics while Llewyn is performing. Out of a supporting cast that includes John Goodman as a cantankerous travelling buddy and Justin Timberlake as a fellow Greenwich musician, Carey Mulligan stands out as fiery and unrecognisable Jean who shares some of the best exchanges with Llewyn. This is Llewyn's film however and like the other characters her sporadic and fleeting appearances emphasise his grounding in no particular place. Uncompromising in their portrayal of the talented individual who just doesn't have enough for true success Inside Llewyn Davis marks a return to form for the Coens. In a slightly gratuitous, full-on scene a figure looking and sounding remarkably like Dylan (whose first gig was at the Gaslight) is beginning a performance just as Davis exits the venue. It is a scene which defines both the film and the era as this celebration of the almost man comes to an end but not before we get a brief glimpse, like Llewyn Davis, of a period in music to come that he will not be a part of.
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Enough Said (2013)
A Solid and Satisfying Send Off to the Great James Gandolfini
The late and great James Gandolfini will always be Tony Soprano. No doubt about that. Although he never garnered the kind of roles and acclaim that he undoubtedly deserved on the big screen, he will forever be remembered in the halls of TV history for his iconic and powerful portrayal of the troubled mobster. Following Gandolfini's tragic and untimely death in Rome earlier this year, the most that fans could look forward to were the final films he had been working on. One such film is Enough Said, the story of a divorcée's relationship with the ex-husband of one of her massage clients and the obvious, resultant complications arising from this. The good news is that the great actor's final screen performance is, deservedly, an appropriate farewell. Eva (Julia Louis- Dreyfus) is a single divorcée of ten years about to watch her daughter go off to college. With no romantic social life to speak of Eva whiles away her time as a masseuse, forced to persevere with the bad breaths and incessant chattering of her clients. At a party, however, Eva meets Albert (Gandolfini) and though mutually agreeing that they aren't attractive to anyone there, something seems to click between the two. Things only get better as they begin dating with Eva succumbing to Albert's charms even though, as she repeatedly remarks, she was initially put off by his overweight appearance. There is only one problem. And quite a big one at that. At the same party where she met Albert, Eva bonded with Marianne (Catherine Keener), a divorcée like herself, who decides to enlist the assistance of Eva's massage skills. If you didn't see it coming, or if you haven't seen the numerous trailers which give it away, it transpires that Marianne is actually Albert's ex-wife! As Marianne continually disparages Albert during their massage sessions, Eva increasingly finds herself torn between her own affection for the new man in her life and the character she is building in her mind through her client's appraisals. Enough Said is a nice, pleasant indie rom-com which won't get you thinking much after the ending. It is helped by the great performances and on-screen chemistry of its leads as well as from a sharp and witty script. Director, Nicole Holofcener, also deserves credit for giving Gandolfini and Louis-Dreyfus plenty of time during scenes to assert themselves as their characters, making it hard not to crack a smile during many of their exchanges. Dreyfuss is great as the funny and intelligent Eva who jeopardises her relationship through an all too willing ear and her own insecurities. The film feels like it is missing something however whenever Gandolfini is off-screen. It is hard not to associate the large, bear-like frame with the patriarch of the Soprano family but Gandolfini proves why he was chosen not only to play a mafia don but also a therapy-driven man struggling with his overpowering emotions. Combining wit and charm, Gandolfini brings an added sensitivity to the good-at-heart but slovenly and overweight Albert who expresses only confusion and sadness when he discovers the truth behind Eva's misgivings. It is a subtle performance truly worthy of one of the actor's final films. Additional, good support is provided by indie regulars, Toni Collete as Eva's friend and Catherine Keener. While some scenes may feel repetitive like the numerous comedic moments squeezed from the issue of Albert's weight, and the inevitable complications arising from it, this is still an enjoyable, light hearted film which is a satisfactory send off to the great life and career of James Gandolfini.
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Captain Phillips (2013)
Greengrass combines realism and thrills to create tense and riveting true-to-life drama
At first glance there was nobody more apt to direct the story of an ordinary sea captain's struggle against armed Somali pirates than director, Paul Greengrass. From his two forays into the Bourne franchise – The Bourne Supremacy and The Bourne Ultimatum – to his powerful and tragic United 93, he can always be relied on to find that perfect balance between realism and thrilling cinema. In Captain Phillips, the story of the eponymous captain's fight for survival against the aforementioned pirates, Greengrass once again delivers. There are no eye patches and swashbuckling in this true-to-life story; only the desperate resourcefulness of an average family man attempting to run down the clock until his rescuers arrive. The film opens with a quick but effective comparison between Phillips (Tom Hanks) and the leader of the pirates who will later board his ship, Muse (Barkhad Abdi): Phillips discusses his son's academic performance with his wife (Catherine Keener) while Muse is woken by rifle fire in his village before being ordered by his gun-toting bosses to get to work and make some money. The next time we meet him – after seeing Phillips assiduously going over safety protocols on his cargo ship in Oman – Muse is hand picking men for the mission which will ultimately pit him against Phillips in a battle of minds and wits. This brief but detailed opening perfectly captures the vastly different backgrounds but similar structures of these men's lives: both have to work for a living but it is ultimately the environment they come from which will determine the nature of this work. I will return to this portrayal of the two men a little later on. Phillips' initial misgivings about the cargo ship's route plan prove more than justified when, rounding the Horn of Africa, two unannounced ships are spotted on the ship's radar. As Muse and his men gradually close in on the Alabama while Phillips radios for emergency assistance and readies his crew, you get the feeling that the tension for the audience – never really on a par with the ship's crew – should be greater than it is. Perhaps understandably, the build up to the hijacking of the Alabama is not quite as tense or traumatic as Greengrass's re-enactment of Flight 93's hijacking. The events of 9/11 will forever remain fixed in people's memory, making the build up to that hijacking more difficult because of the audience's prior knowledge that no help was going to come for the victims. With Captain Phillips, on the other hand, the audience hasn't really got completely under the skin of the character by the time the pirates arrive, making it more difficult to empathise with his situation. However, like United 93, the film's tension is expertly maintained throughout the entire duration, continuing to bubble under the surface during brief interludes in the action. After successfully preventing hostile takeover on the first day, the pirates resume where they left off the next, changing their tactics while increasing their determination. Even in the exciting stand off between Phillips's crew and the pirates, as the latter attempt to attach their boarding ladder to the ship, Greengrass deserves credit for his portrayal of the Somalis. Even though these men are engaging in piracy and are overtly hostile to the ship's crew, the film nevertheless avoids the standard portrayal of clichéd villains, conveying the danger they put themselves under, and their determination, to carry out their mission. In spite of the ship's efforts to repel the threat the ladder is attached to the ship and then boarded by the pirates. What follows is an exciting and realistic depiction of an ordinary captain's efforts to protect both his own and his crew's lives. Phillips is simply the captain of a cargo ship not a war ship therefore his efforts are not put into judo-chopping the 'argh' out of the pirates but subtly deceiving them in order to save his crew from being taken hostage. This game of cat and mouse between Phillips and Muse provides some of the film's best moments as the captive captain attempts to stay one step ahead of the alert and suspicious pirate. Hanks is terrific as Phillips, giving his character an everyday heroism while never venturing into action hero territory. It is the character of Muse and the accompanying performance by Abdi however, which is the highlight of the film. Like United 93's hijackers, Greengrass humanises Muse but never to the extent of condoning his actions. As previously mentioned, like Phillips, Muse has bosses to answer to and must do what he can to appease them as well as make a living for himself. In a great scene, in response to Phillips's assertion that there is more to life than fishing and piracy, Muse matter-of-factly states, 'Maybe in America', again emphasising the uncomfortable truth that people resort to dreadful acts when their environment gives them no other alternative. Apart from an exhilaratingly-scored scene of Navy SEALS jumping from an aircraft, Greengrass expertly maintains this engaging realism for the film's duration as the growing hysteria and panic of both the pirates and Phillips culminates in a tensely riveting finale. Greengrass also deserves credit for not shying away from the aftermath of the hostage situation; instead focusing on it with sometimes uncomfortable and personal detail. Captain Phillips may not equal United 93 in terms of tension and power but it deserves full marks for its unflinching portrayal of sometimes uncomfortable world truths as well as for the terrific performances of Hanks and Abdi which anchor it. The end result is a film which, due once again to Greengrass, proves that exciting and riveting cinema is possible with everyday characters who are put in extremely dangerous but unfortunately real situations.
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Los ojos de Julia (2010)
An Atmospheric Thriller That Never Quite Fulfills Its Potential
The synopsis of 'Julia's Eyes' or 'Los ojos de Julia' tells of the story of a near blind woman investigating the death of her twin sister who is not sure whether the man she sees is real or a product of her failing sight. Sadly, the mystery of this promising idea is deflated in the opening five minutes when the flash of a camera and the opening of a medical pack proves that there is in fact a person present who is hankering after the deaths of our resident blind folk. It begins positively with blind twin Sara(Belen Rueda) frantically hurrying around her darkened house convinced that there is an unwelcome visitor present with her. As she stares at and berates her presumed assailant in a corner of her house - in darkness because of a power cut - with horrific, blinded eyes, a flash of lightning illuminates the empty corner bereft of life. It is this air of mystery and ambiguity that should lead the way in a film that doesn't exploit the use of shadow effectively enough. Still convinced that there is a man with her, Sara proceeds to the basement where, attempting to take her own life, a foot kicks away the stool she is standing on causing the noose round her neck to strangle her. In another part of the country, her sister Julia(also Belen Rueda) sinks to the floor with breathing problems aware that something is amiss with her sister. Acting on this, Julia travels across the country with her husband Isaac(Lluis Homar) where the discovery of Sara's corpse prompts her initial grief to develop into suspicion that not is all as it seems. Unfortunately, 'Julia's Eyes' suffers from the usual generic flaws that all modern horrors are guilty of: within what seems like five minutes since the discovery of her sister, Julia suddenly believes that foul play is afoot, prompted by a few innocuous discrepancies. Even more frustrating is the usual method of having no-one believe the heroine's pleas that there is a killer on the loose, even when she has been driven half mad by the torment. They continue to wave away the claims of a sane professional with no history of mental illness even when people seem to be dropping dead, left, right and into bath tubs. This particular storytelling technique has become something of a joke in recent years but its use shows no signs of subsiding. Setting its flaws aside for the moment however, the film manages to maintain a consistent level of threat and atmosphere due to its examination of the effects of blindness. In one particular scene, Julia infiltrates a blind woman's centre alone to gather information pertaining to her sister when, apprehended by the blind women, they enquire into the man who has accompanied her, smelling him out, in an unnerving but humorous scene. Turning around, Julia catches a glimpse of a shadowy figure departing from the scene who she gives chase to. In one of the rare effective uses of shadow, Julia corners her terroriser before slowly and cautiously edging towards the invisible breathing figure using her mobile for light. In another shock moment, a grieving Julia is comforted by Isaac's hand at her sister's graveside before looking up and seeing Isaac a considerable distance away conversing with other people. Startled, she rises and turns but there is no-one else present in the proximity. A film that doesn't rely on cheap scares, 'Julia's Eyes' instead focuses on creating tension and atmosphere in order to draw in its audience. Some clever nuances include, the film never deviating from first person perspective such as when Julia has had eye surgery and is required to wear a bandage, the audience is never shown the faces of people around her including the killer. Similarly, at the film's climax the only source of lighting is through the intermittent flashes of the killer's camera after the power supply to the house has been cut. The climax though drawn out by about twenty minutes is an enthralling battle of wits and mind games between Julia and her tormentor as she attempts to stay one step ahead. The relationship between the killer and his mother however could have been given fuller examination in light of the revelations it brings to the plot and the killer's psychology. The mother however, as well as this aspect of the plot are given no chance to flourish, ironically, in an ending that meanders from one location set piece to the next. Nevertheless, 'Julia's Eyes' is a worthwhile thriller that elaborates on the concept of fear of the unknown by examining the effects of blindness but never quite capitalises on the sense of mystery that it displayed in the opening few moments. Instead of a world lived in the shadows, we have a film about a shadowy killer.
Oldeuboi (2003)
A Modern Classic That Raises The Bar For Future Films
Can you take revenge on someone for imprisoning you if you do not know the reasons behind their actions? This is one of the notions that permeates Park Chan-wook's 'Oldboy' that sees an ordinary man, Oh Dae-su(Choi Min-sik) imprisoned inexplicably for 15 years before being abruptly released and given 5 days to find out who locked him away. Opening with a terrified man being hung over a building by his tie, Oldboy never lets up in its furious pace as an urgent Dae-su attempts to piece together the reasons for his incarceration. Aiding him in his trials is the young chef Mi-do(Kang Hye-jeong) whose attachment to Dae-su is out of mutual loneliness and a secret unknown to either. Much more than an average revenge thriller the likes of which Hollywood continually regurgitates, 'Oldboy' focuses on the themes of isolation and of revenge itself as Dae-su uses his prison television as a companion during his separation from society as well as feeling and sniffing the first man he encounters after his release. Mi-do, in addition, recounts how she once saw a six foot ant in her train travelling home in a stylistically eccentric scene that references her assertion that lonely people imagine ants. As with the other two components of his Vengeance Trilogy - 'Sympathy for Mr Vengeance' and 'Lady Vengeance' - 'Oldboy' examines the nature of revenge itself and how the futility of it brings no closure but only more pain. This is apparent when it becomes clear to the audience that Dae-su's revenge is not the only one at work. Choi min-sik puts in a powerhouse performance as Oh Dae-su portraying the immature drunk from the opening of the film then descending into desperation and anguish before excelling as the post-captive Dae-su whose thirst for vengeance gives way to a more sadistic character who thrives on both receiving and administering pain. In the standout scene of the film - the now famous tracking shot - Dae-su fights 20+ thugs in a narrow corridor with a knife lodged in his back before smiling nonchalantly as an elevator opens to present even more assailants to him. In a film full of classic scenes this is one of the most exhilarating as we watch Dae-su cleave through his enemies like a force of nature. We are never in any doubt that he will win the fight; we simply sit back and admire the choreography and sound effects of Dae-su's callus hardened fists meeting various parts of anatomy with a force that is going to do more than just tickle. Kang Hye-jeong likewise puts in a tragic performance as the ill-fated Mi-do: the image of innocence who is corrupted by two opposing evils. In a powerfully symbolic scene Mi-do adorns a pair of angel wings, unaware of their significance as Dae-su's terrible scream roars across the screen. As Dae-su's captor, Lee Woo-jin, Yu Ji-tae delivers a twisted performance as the obsessive mastermind whose imprisonment of the protagonist is only the precursor to his elaborate plot. As the wealthy recluse, Ji-tae portrays a man perfectly in control who in his final scene descends into grief-stricken remembrance that allows the audience to understand but not condone his machinations. In his crafting of 'Oldboy' Chan-wook has delivered a modern classic that will stay with audiences long after the credits roll. Not simply a thriller but a meditation on the destructive force of revenge nowhere is this better epitomised than the final scene where Dae-su's lingering smile slowly fades into a grimace as he embraces Mi-do in the snow.
Collateral (2004)
Two Terrific Performances in an Enthralling Thriller
There is a terrific scene in Michael Mann's 'Collateral' where Tom Cruise's Vincent and a coyote stare at one another under the glow of a deserted Los Angeles street. The profoundness of the scene is in many ways an example of how Mann manages to raise his crime thrillers above the standard fare of his peers. For 'Collateral' like one of Mann's earlier pictures 'Heat' is not simply a great action film but also a subtle and intricate character study of two opposing individuals who nevertheless share a mutual understanding. In 'Collateral' however this relationship is not as playful as the Pacino/De Niro one that dominates the plot of 'Heat' as Tom Cruise takes Jamie Foxx's cab driver Max hostage over the course of a single night. It is a tough job attempting to surpass 'Heat' but Mann manages it by simply focusing on two lead characters whose actors put in affecting and human performances. Whereas 'Heat' perhaps suffered from too many digressions by examining in detail the lives of its secondary characters, 'Collateral' stays with Vincent and Max throughout its duration only sometimes switching to Mark Ruffalo's Detective Fanning. In what is essentially a tale of two lonely individuals, 'Collateral' sees Fate land a hit-man, Vincent, into the cab of Max, a man whose optimism about the future is going to be put to the test. From this first meeting spirals a catalogue of mind games, contract killings and insightful conversations as the put upon Max tries to escape the clutches of the ruthless Vincent. Foxx delivers a performance full of empathy as the cab driver who has to come to terms with being a hostage in his own taxi and then deal with the small matter of staying alive. He portrays a man whose meek personality is galvanised into a raging catharsis after continual denigration by Vincent. Cruise likewise excels in a performance that portrays a very human assassin. Not emotionally vacant, Vincent clearly delights in his profession challenging one of his victims to gamble his life on a question related to the man's passion. This hit-man is not someone manufactured by some shady government organisation but one that has flaws like any human. In one scene Vincent delights in humiliating Max in front of his mother leading to Max throwing his briefcase over a bridge. The relationship between Max and Vincent is a key aspect of 'Collateral' which is epitomised in the coyote scene, mentioned at the beginning of the review. As Max slows down the cab to avoid hitting the animal, it and Vincent stare at one other, into each others' souls. No words are spoken; only a meditative silence during and after the moment. What follows is a powerful moment of self-reflection on Vincent's part where he assesses his life and how it resembles the coyote's: a life as a predator, not living a normal life but continually wandering. As Max moves the car onwards Vincent stares blankly ahead of him, both men separated from one another physically and metaphorically by the glass behind the driver's seat. It is such scenes of resonance that give 'Collateral' its emotional core; however the film also boasts several impressive set pieces including the shootout at a Korean nightclub where one of Vincent's targets are located. The scene itself is brilliantly choreographed with the police, FBI, mobsters, Vincent and Max involved in a frenetic showdown that perfectly illustrates Mann's versatility in shooting action sequences. Cruise also displays his physical suitability for the role as a lethal Vincent takes out everyone in his path on the way to completing his mission. It is one of the standout scenes of a film that already boasts two terrific lead performances, a great soundtrack and direction by Mann that displays the beauty of the city. As the train at the end of the film departs into the distance with dawn approaching it is hard to believe that the events have taken place over a single night.
The Hangover Part II (2011)
A Funny But Very Similar Addition to The Hangover Series
Todd Phillips' sequel to the hugely successful 'The Hangover' continues the odyssey of three friends attempting to find their lost companion after a drunken night gone completely awry. In the first film it was Doug, the groom, who went missing but this time around his place has been filled by Teddy, brother of Stu's fiancé. This isn't the only similarity in 'The Hangover Part 2' which has lifted proceedings out of Las Vegas and dropped them into Bangkok. On a positive note though the film is still very funny in places with the biggest laughs usually being at the expense of Stu who continues the habit of disfiguring his body: a tattoo on the face is his reward this time for his troubles. The biggest problem however with the film is its lack of imagination with the writers opting to reiterate the formula of the first film. This encompasses three friends: Phil, Stu and Alan travelling around an unknown city in pursuit of information to piece together the events of the previous night. The idea worked well as evidenced by the first film's box office intake and it seems the creative team has experienced some trepidation in changing this method. As a result, 'The Hangover Part 2' feels like something of a missed opportunity. With the stroke of genius that was relocating to Thailand there should have been a wealth of ideas pouring in to use at their disposal instead of what we have as the finished product. For example, seeing as how it deals with three foreign tourists in a country that's unknown to them why not have them separated and alone before attempting to find their way back to one another or have Doug take part in proceedings this time. There is also a palpable lack of danger in the film that could have been exploited to good use such as the sleazy underbelly of Bangkok. We do have glimpses of drug dealers and transsexual strippers but there is a feeling afterwards that more could have been explored and since it is a film, exaggerated. The three leads put in pretty good shifts with Ed Helms surpassing the other two with his portrayal of a Stu struggling to cope with each new discovery with one particularly bad revelation being one of the funniest moments of the film. Bradley Cooper as Phil does not actually have a lot to do in the film with the majority of mishaps being inflicted on Stu which is a shame because Phil's position as the head of the group could have been reverted to take him out of his comfort zone. Zach Galifianakis grows into the role of Alan after a clumsy opening which sees the plot signposted for the audience instead of the easy transition of the first film. In 'The Hangover Part 2' we get a more petulant Alan than the first film but as the film continues we are gradually introduced to the character of Alan that made 'The Hangover' such an enjoyable film. As a sequel to the original this film does not quite match up to its predecessor but there are still some great moments such as the 'death' of Mr Chow and the realisation that the lead characters scaled a Buddhist Temple and kidnapped a gardening monk. There are disappointments such as the widely debated tattoo parlour scene that saw both Mel Gibson and Liam Neeson come and go. It is quite clear that there was a rewrite and as such it is a scene with few laughs. Other opportunities missed could be their one and very standard scene in a Bangkok police station with this scene in particular an obvious platform for comedy. In the end though 'The Hangover Part 2' does exactly what it's supposed to do: provide some laughs but you may feel like bringing out your copy of the original to placate any longings that the sequel does not satisfy.