American Hustle

15, 2014, Directed by David O. Russell
Starring: Christian Bale, Amy Adams, Bradley Cooper, Jennifer Lawrence

  

American Hustle's tone is set from the opening caption, citing the events of the film as 'mostly true'. David O. Russell's 70s-set caper - which is, yes indeed, loosely based on the FBI ABSCAM operation which saw a pair of con artists forced to set up a sting corruption in order to frame several politicians - is the follow-up to his adorned Silver Linings Playbook (2012), recasting both Bradley Cooper and Jennifer Lawrence in roles secondary to The Fighter's (2010) lead talent, Christian Bale and Amy Adams. With the zaniness amped up, here they play the con artiste counterparts Irving Rosenfeield (complete with hilariously terrible toupee) and Syndey Prosser (complete with hilariously terrible English accent), with Lawrence impressing (who'd have thought it...) as the former's erratic wife, and Cooper slipping into the shoes of undercover agent Richie DiMaso - damn near stealing the film from under everybody's wigs..

Throughout, however, O. Russell distractingly conveys the feel of a picture attempting to capture Scorsese movie magic, instead lacking the required punch that pushes that filmmaker's features towards modern classic status. The whole aesthetically-charged setting of the decade is realised well, with each actor throwing themselves into their assigned role with aplomb. Bale and Adams both impress, dealing with quite a script that captures screwball wit well - most brilliantly utilised by Cooper, his scenes with comedian Louis C.K. reigning most supreme in the membrane. As is the norm ever since her role as Ree Dolly in Winter's Bone, no review would be complete without talk going the way of Lawrence, proving as firecracker Rosalyn that comedy still remains no biggy.

With every character untrustworthy up to their eyeballs, it doesn't prove teeth-sinking material, one questioning whether you would gladly decide to spend time in their company for a rewatch once the screen fades to black. The hard irony O. Russell befalls is that American Hustle would probably benefit from such a rewatch, it's sprawling tangential editing not as slick as all involved believe it to be. But with many a laugh-inducing moment, and a neatly played cameo (that adds to the earlier Scorsese theory), American Hustle is perhaps a bit too ahead of the curve for it's own well-being, but still exists on a scale above most films released this January.

3.5/5

 

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Arbitrage

2013, 15, Directed by Nicholas Jarecki  
Starring: Richard Gere, Susan Sarandon, Tim Roth, Brit Marling
 

Nicholas Jarecki’s audacious debut Arbitrage (the practice of taking advantage of a price difference between two or more markets - no, I had no idea what it meant either) stars Richard Gere as hedge fund business magnate Robert Miller, a ruthless chancer who makes one error too many in the midst of making a vital sale of his trading empire. Surrounded by wife Ellen (Susan Sarandon,) daughter Brooke (Brit Marling,) and a savvy detective sniffing around his dealings (a smarmy Tim Roth,) Gere impressively juggles Miller’s descent with a much-missed charisma akin to roles from yesteryear. It is to the actor’s credit that you sympathise with a character who, when stripped back, is a quite detestable money-obsessed crook. First-timer Jarecki (who not only directs, but writes an accessibly bold script) has dealt a well-created character, translating him to screen with relative success. However, Arbitrage – as beautiful as it looks (props to cinematographer Yorick La Saux) – remains hollow behind the eyes, the film reverting to the ways of its protagonist by providing an ambiguity over its final moments that dishonours most of the material that has come before it.

 

   3/5   

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Alan Partridge: Alpha Papa

2013, 15, Directed by Declan Lowney 
Starring: Steve Coogan, Colm Meaney, Felicity Montagu, Sean Pertwee 

Many would say that Alan Partridge, the disc jockey from Norwich, has long been overdue a feature film - many being thirty-something aficionados, or even twenty-something’s with a taste for British comedy. It was 21 years ago when the character (co-created by The Thick of It's Armando Iannuci) first lent his voice to Radio 4's On the Hour, sparking off a rib-tickling list of credits ever since. It was decided that now was the time - in a blockbuster-riddled age - for the multiplex invasion, and what we've been handed is Alan Partridge: Alpha Papa, a charming British comedy spin-off more Inbetweeners Movie than League of Gentleman's Apocalypse. 

Partridge is more than just a character, channelling his purveyor Steve Coogan far more than the other way around. Every thought, line of dialogue and character tick is layered with precision - this is Coogan's baby. And he'd be damned if this film wasn't any good. Breathe your sighs and wallow in the news that Alpha Papa is Funny... with a capital F. Stocked with quotes up there with the best of 'em, this spin-off (which began its film shoot in Norwich only this past January) is a love-letter, if an ever so slightly scribbled one. Like most comedies, there’s the odd misfired joke fit with obligatory chuckle, and the lines of realism are blurred to say the least; quite tough to swallow when Partridge’s entire existence balances on being the everyman who lives down the road.

In terms of plot, we have Colm Meaney's Irish graveyard shift DJ Pat Farrell turn gun-crazed hostage-taker during the office party at North Norfolk Digital when company Shape are placed in charge and fire him (with no help from Alan's friendly suggestion to 'Just sack Pat'.) A hostage situation at his feet, the only person Farrell will converse with is Alan, who views the opportunity for evolution as he acts as a go-between for the police and the hostages.

The rest should be left for you to discover; prep yourselves for several laughs a minute. Coogan’s dialogue, quite evidently largely improvved, aims to push this character even further than you could have imagined (Partridge equipped with a rifle!), but all involved prove here fresh ideas are still at their feet. There’s not an Aha in sight.

4/5  

  

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Amour

15, 2012, Directed by Michael Haneke

Starring: Jean-Louis Trintignant, Emmanuelle Riva, Isabelle Huppert 












 

In cinema, there are directors who churn out film after film; directors who pay more thought towards cash in their pockets than how to make their current feature unique… But there are those directors who treat filmmaking like a jigsaw; a jigsaw with the most minute pieces, taking utmost care to deliver something standalone that merges traits used before, with additions, so that by the time said film is unveiled upon the world, an excessive amount of hype has been generated for a ready-made quintessential slice from that director's filmography. Whether you like him or not, Michael Haneke is one of these directors, and Amour is one of those films.

Garnering considerable hype largely due to the 2012 Festival circuit, not to mention its coveted Cannes Palme d'Or win, style is embraced warmer than ever here. Jean Trintingnant appears in his first appearance for 9 years as Georges to Emannuelle Riva’s Annes. The two are long-married retired music teachers whose lives are upheaved when Annes suffers a stroke. The central performances are, for want of a better word, spectacular. So much so, that Amour could be a documentary and Trintignant and Riva its subjects. The film commences with a flash-forward, and ensuing scenes which occur as the film works its way to the conclusion are incredibly emotive; tasked with picking a standout scene would be an impossibility.

 Like his films before It (Hidden, fellow Palme d’Or winner The White Ribbon), Amour is equally as bleak, hard-hitting and compelling, but perhaps to a greater extent due to the feeling of inescapable inevitability that effuses from the Austrian auteur’s work. His latest, one of which many could - and will - make a statement as his best, isn't just a film but a snapshot of the brutality life can throw your way, without even leaving your front door. Haneke’s presence is felt in the canny way he fixes the camera in position and tracks his characters, permitting his actors to do everything that suffices. Haneke tackles tough subjects in a characteristically unflinching but honest manner, heightening the integrity of all involved. Georges and Annes could be somebody you know, or you in the future; everybody can relate. This is remarkable filmmaking of the most understated form, and for this, Amour warrants all the respect it will undoubtedly receive.

4.5/5

 

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The Artist

2011, U, Directed by Michel Hazanavicius
Starring: Jean Dujardin, Berenice Bejo, James Cromwell, John Goodman

The hype surrounding The Artist is, put simply, massive. French filmmaker Michel Hazanvicius’ love-letter to the Silent Era of cinema which has so obviously influenced his career hit the festival circuit to immediate acclaim, not to mention imminent awards recognition. The plot follows silent movie star George Valentin who struggles to adapt to the introduction of sound in cinema, his stubbornness to evolve meaning his career falls by the wayside, whilst new actress on the block Peppy Miller’s blossoms. The Artist’s heavily-scrutinised trick is that the film itself is filmed in black and white silent, the self-reflexivity ensuring this be like no other you have seen for a while. The trick is no gimmick with the lack of colour and sound never once feeling like forced art for the sake of art. In fact, The Artist manages to stand head and shoulders above the rest because of this technique, which ironically ensures its originality. In a contemporary industry that focuses on money-churning dead-behind-the-eyes blockbusters, The Artist provides the breath of fresh air that could last for a decade. Jean Dujardin and Berenice Bejo’s central performances are two of the most charming performances in recent memory – the chemistry between the two will make you want to exclaim your delight wherever you watch – not to mention the supporting cast’s effort (John Goodman, James Cromwell).

Not content with purely reminiscing upon his favourites, Hazanavicius includes a 21^st century twist that will have audiences gawping in the aisles in sheer unexpected excitement. Who needs large budget action sequences when you can have a sound technician play around with what you hear, all to emphasise fear in a character that cannot be heard. The word that springs to mind is ingenious. It is these things, plus more (three words: Uggy the dog), that stand The Artist alongside classics of the past. This will be a film spoken about in decades to come. This is a film that will deserve every award it will undoubtedly receive. This is a film that will charm generations to come, no matter how many times they decide to watch this magnificent feature. 

5/5

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