Like Crazy

2011, 15, Directed by Drake Doremus
Starring: Felicity Jones, Anton Yelchin, Jennifer Lawrence, Alex Kingston

Like Crazy is a love story with a twist: Jacob is an American student, whilst Anna is a British student living in America. They fall in love, pre-empting Anna to make the decision that she will outstay the expiry date of her visa, all to spend the summer with her one true love. This is the initial plot of the film, showing us (weirdly fleetingly) the process of how the two met and why they love each other so much (naturally as a furniture designer, he romantically builds her a chair…). When Anna returns home and attempts to visit Jacob back in America, she is denied entry forcing them both into a battle to prevent them from being kept apart. But it all grows tough, especially when new interests enter the fray. Cue lots of nights out where one text’s the other, the recipient reading said text and sheepishly putting the phone back into their pocket.

The problem with Like Crazy is minimal, bearing in mind the many positives. The structure preambles along, with no clear sense of direction; the whole film seems like a series of repeated events played out with different emotions often bordering on tedious. But it is to the credit of Anton Yelchin and Felicity Jones, who play the hapless romantics, that everything remains watchable and grounded in reality (even though the events are said to be based on the director’s real-life experiences). Mention must go to Jennifer Lawrence, who plays the new girl Jacob sees when in America – this actress, most recently seen in The Hunger Games, is definitely the next big thing. For those who can relate to the idea of a long-distance relationship and the struggle in the up-keep of this, Like Crazy will be everything you want from a romantic film. For everyone else, you will feel all the emotions the film wants you to feel, but without leaving you anything to chew on afterwards.

All in all, a bittersweet film elevated by the performances, providing some sort of promise.

3/5 

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The Guard

2011, 15, Directed by John Michael McDonagh
Starring: Brendan Gleeson, Don Cheadle, Liam Cunningham, Mark Strong

It may come as a surprise to hear that Brendan Gleeson, eclectic character actor of countless well-known films, turns in a career best performance in The Guard, a tale that sees an international drug smuggling ring collide with a small town in Western Ireland, much to the dismay of eccentric and extremely unorthodox policeman, Sergeant Gerry Boyle. Here we have a member of the Irish Garda who is not afraid to taste confiscated drugs, to spend his days off visiting prostitutes, or to spout racism towards visiting FBI agent, Wendell Everett (an extremely welcome Don Cheadle as the fish-out-of-water American in Connemara.) John Michael McDonagh nails the downright immaculate screenplay, in which every scene is a genuine joy to behold. The unlikely pairing of Gleeson and Cheadle is enough to put you to bed content with casting talents, and even the drug smugglers themselves – led by a tongue-in-cheek effort from Mark Strong – cannot resist joining in to assist with the belly laughs. It would be scandalous not to mention the fact that McDonagh, who enjoys sole directing and writing credit, is brother of In Bruges writer/director Martin McDonagh – meaning it is no mistake the two flicks would be the perfect double bill (even if Ralph Fiennes steals the trophy from Strong when villains are involved)… But what does this matter when Gerry Boyle’s escapades are to be witnessed? Okay, the ending – like his brother’s film before him - may be a tad contrived, but this is a minor squabble. Heaped with quotes only Gleeson can serve justice to, filled with vibrancy that Connemara has doubtfully ever seen, and loaded with moments that will have you spitting your Guiness out down the pub, this is one to be closely guarded.

4.5/5



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Oscar Best Picture Nominee Rundown:

The Artist

From the minute The Artist hit the festival circuit last year, it became apparent that this would be the film to beat come awards season. So far, Michel Hazanvicius’ love-letter to the Silent Era of cinema has lived up to this expectation - not just because of the self-reflexive way in which the film is actually a black-and-white silent (…well, largely silent), but because it is a truly magnificent watch, which plays around with the technicalities of film in a way that appeals to generations worldwide. The Artist really is the one to beat.

My Rating: 5/5

Chances of winning: 4.5/5

The Descendants

Whenever Alexander Payne decides to make a film (not as often as he should, that’s for sure), Oscar always pays attention. The Descendants sees no difference, emphasised even more so by the star presence of George Clooney in what people are (boldly) claiming to be a career-best performance from the superstar. Merging darkness with hilarity, this is a truly worthy nominee with a sharp script, not to mention quality acting and skillful direction. This is the only film that could (but probably won’t) threaten The Artist’s chances. The big question is whether The Artist's Jean Dujardin will steal the Best Actor gong from Clooney...

My Rating: 4.5/5

Chances of Winning: 4/5

Extremely Loud and Incredibly Close

This be the only film on the list I have yet to see... From the initial response to its being nominated, I'm guessing its chances of winning here are not as strong as others.

The Help

The Help is a nice film. But nice doesn’t generally mean a nomination is deserved. Here is one of those films that is included by the Academy mainly due to the subject matter at hand, not to mention the fact that, when all is said and done, it is a bittersweet crowd-pleaser. Not that its recognition is entirely undeserved – both Viola Davis and (likely Supporting Actress winner) Octavia Spencer are certainly something to shout about – but at the expense of other films (Drive, Tyrannosaur, We Need to Talk about Kevin to name a few...), The Help is rather lucky to be here.

My Rating: 3/5

Chances of Winning: 3/5

Hugo

Martin Scorsese’s foray into 3D filmmaking knocked pretty much everyone for six upon release. Much like The Artist, this is heavily influenced by the creation of cinema – an art that Scorsese is clearly more passionate about than most. Winner of a single Oscar (for The Departed in 2006), Hugo has earnt him his sixth nomination for Best Director, pitting him against little-known French director Michel Hazanavicius for The Artist. It is common knowledge that the film of the winner of Best Director usually goes onto win the main award, so this is where Hugo's chances are really heightened, what with Scorsese winning at the Golden Globes in January. Either way, both films are awe-inspiring and it is truly apt that they have been included in this year's Oscar race.

My Rating: 5/5

Chances of Winning: 4/5

Midnight in Paris

Midnight in Paris is a breath of fresh air; a return-to-form for Woody Allen that critics and audiences loved in equal measure, it may have been an initial surprise to hear this film had been nominated, but when thought is paid its way, it is completely understandable. Well-written and acted (it has a nomination for Screenplay, but nothing for acting; sorry Owen Wilson), it also boasts Allen's first nomination for Directing since Crimes and Misdemeanors in 1989. Perhaps this is due to his refusal to attend the ceremony. As it remains, if there is one film that Woody Allen has directed in the past decade, this is the one that deserves to be here. Kudos to the Academy. 

My Rating: 4/5

Chances of Winning: 1/5

Moneyball

A project spurred on completely by its star Brad Pitt, Moneyball is a true rarity; a sports movie that isn’t really about what happens on-pitch, but about the true-life tale of how Billy Beane used the Oakland Athletics baseball team to find ambition in his own life. Perhaps this is why Moneyball is slowly enduring as a dark horse amidst the heavyweight contenders in this year’s Oscar race. (See The Artist, Hugo.) Rightfully so. One of two Pitt films in the line-up, this is not only the better of the two, but showcases a performance of an actor who you thought had reached his game only to leave you cruelly mistaken, and excited for what's to come. Okay, so I wouldn’t throw money(ball) on it winning, but it’s reassuring to see its inclusion... If only it means more people see it. 

My Rating: 4/5

Chances of Winning: 3/5

The Tree of Life

Together with Extremely Loud & Incredibly Close, this was the annual shock nomination on the list – but not necessarily for the same reasons as the former. The Tree of Life is Terence Malick’s first feature after quite a lengthy cinema absence and not only did critics lap up the film, which depicts the evolution of earth, but Cannes awarded him with the coveted Palme D’or. Which may explain why it’s here. Whilst it’s exciting to see such a divisive film be in with a shot, quite frankly there were better films the Academy could have chosen. If Lars Von Trier had kept his mouth shut, maybe The Tree of Life’s complete opposite, Melancholia (which is about the destruction of Earth) would be here instead. I guess we’ll never know.

My Rating: 3/5

Chances of Winning: 2/5

War Horse

Scanning your eyes over the list of this year's nominated flicks, if underwhelmed, you would probably be relieved to see War Horse thrown in at the bottom. The most commercially successful of the nominees this year (followed by The Help), War Horse has basically been a shoo-in from the moment Steven Spielberg announced he was to adapt Michael Morpurgo’s book of the same name (Animals + War = Oscar bait). Interestingly, War Horse hasn’t been dealt as many nominations as one might have expected - most notably Spielberg not being credited for director - but after several shocking omissions for the 'berg in the past (not to mention Christopher Nolan’s for Inception last year), sometimes these omissions have to be overlooked. Apparently, War Horse is the most googled of the nominees, which gives it some weight in, what is looking to be, a one-horse race.

My Rating out of 5: 4/5

Chances of Winning: 2/5



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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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J. Edgar

2011, 15, Directed by Clint Eastwood
Starring: Leonardo DiCaprio, Armie Hammer, Judi Dench, Naomi Watts

There is plenty of reason to gather excitement over a Clint Eastwood feature that depicts the much-speculated life of J. Edgar Hoover, the enigmatic figure who birthed the Federal Bureau Investigation, formulated the fingerprinting database and pranced about in women’s clothing. This is a biopic on a grand scale – one where the central character is embroiled in plenty of chronicled moments of the past century in America. The Kennedys, Martin Luther King, Communism; Clint ensures these are present in some manner. But it comes as a surprise that J. Edgar, for all its might, is more interested in adding to the intense scrutiny of his private life. In between the weighty moments where Hoover (a ferociously fervent and damn impressive Leonardo DiCaprio) dictates his memoirs to a scribe, as he reflects upon his 48 years as FBI director, his unconsummated and largely unspoken homosexual feelings towards colleague Clyde Tolson (The Social Network’s Armie Hammer) are where screenwriter Dustin Lance Black (Milk) appears to be most interested. No issue, apart from the fact that plot points and character interactions proposed near the commencement of the film are flung to the wayside by the halfway point, Naomi Watt’s trusty secretary Helen Gandy a prime victim. In fact, she is given the same thing to do countless times throughout the 137 minutes running time to the point where you wonder why the hell she is still working with the man himself so many years down the line. Judi Dench manages to shed some light as to the reason why her beloved Edgar is such an enigma; in one of the darker, more memorable scenes of the film, she tells an anecdote which explicitly states her views on homosexuality. That scene – as fictional as it may be - provides enough exposition as to why our unreliable narrator is so tightly wound. One thing is for sure - he is performed to the hilt by DiCaprio. It doesn’t matter whether it’s sprightly, young J. Edgar or prosthetic-induced old age J. Edgar, Leo shows how well he deals with versatility. It’s a shame then that the film as a whole is a rather underwhelming effort, not helped by the fact that huge promise surrounded a piece that was weighed down by a poor script, structure and use of prosthetics. A wasted opportunity.

2.5/5

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Hugo

U, 2011, Directed by Martin Scorsese
Starring: Asa Butterfield, Chloé Grace Moretz, Ben Kingsley, Sacha Baron Cohen

It may be hard to envisage legendary director Martin Scorsese, director of esteemed classics Raging Bull, Taxi Driver and GoodFellas, opting to work behind the lens on a U certificate children’s film. In 3D, no less. But within mere minutes of Hugo's startlingly beautiful opening sequence, with Parisian lights glistening in your face and dialogue-free action depicting our orphan protagonist Hugo Cabret’s face peering from behind the Gare Montparnasse's clocks, as he tracks the goings-on with the characterised individuals surrounding him, and it will hit you like a train: this is no children’s film, but a love letter to the medium Marty has become such an iconic part of – cinema.

Set in 1930s Paris, Hugo goes about his days hiding in the walls, manning the clocks and avoiding the station Inspector (Sacha Baron Cohen), all whilst attempting to repair the automaton (a mechanical man who can write messages) he and his father worked on before his untimely demise left Hugo on his lonesome.  It is through this event that we are introduced to the eccentric cast surrounding the loveable boy (played by The Boy in the Striped Pyjamas' Asa Butterfield, a revelation) and his new friend, young Isabelle (Kick Ass' Chloe Moretz, continuing to impress in everything): the aforementioned Inspector Gustav, played with relish by Cohen who steals every scene he finds himself in; Christopher Lee as a kindly librarian; and Ben Kinglsey as the grouchy owner of a toy shop who bears a secret that is inexplicably linked in a large part to Hugo’s ambition to repair the automaton. Needless to say, the film veers off to become associated with the technicalities of cinema, and a film that can be appreciated by all.

For the first time in quite a while, the 3D complements proceedings - somewhat ironically considering the feature's focus on a time when the silver screen had no sound let alone enhanced image - immersing you into an experience rarely achieved these days. Sit back in awe as you witness re-enactments of the stripped-back hugely original way in which films were made, not to mention a general appreciation of the joy cinema can bring to individuals, generation after generation. If that does not supply you with joy, it is a struggle to think what will. Because through Hugo, Martin Scorsese has not only crafted a product suitable to everybody everywhere, but – and whisper this - he might just have crafted his masterpiece. Well... another addition to the filmography that can be mentioned alongside the others at the top of this review anyway.

5/5

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The Help

2011, 12, Directed by Tate Taylor
Starring: Emma Stone, Viola Davis, Bryce Dallas Howard, Octavia Spencer

America’s sleeper hit of 2011, The Help is an adaptation of Kathryn Stockett’s novel in which an innocently vivacious young white female bravely decides to write a book during the civil rights era from the perspective of ‘the help’ - black maids who are subjected to racism by the families they work for. An ensemble piece, this oddly charming film stars Emma Stone as journalist Skeeter, who witnesses the racism for the cruelty that it is. Silently making a stand, she berates the women she should be friends with. These include Hilly Holbrook (Bryce Dallas Howard), truly villainous in a role that will have every viewer wishing they could step into the screen to give her a piece of their mind – a sign of a great performance. The equally as brave two black maids who lead the revolution as it were, are played by Viola Davis and Octavia Spencer, both emanating a sense of chemistry vital to indicate the us-and-them nature the ignorant housewives all create. Both are as good as the other, yet for contrasting reasons. Spencer’s Minnie is a naughty, bubbly, hilarious creation that is crowdpleasing on all kinds of levels. Davis provides a quiet tenderness in Aibileen Clark, respected by all who know her for who she really is. She is the heart of the film (her relationship with the daughter of the woman she works for will bring a smile to the face, and inadvertently tears to the eyes), and arguably has the most work to do emotional-lifting wise. She succeeds. Mention must also be thrown Jessica Chastain’s way, who brings humanity to Celia Foote, a neighbour ostracised by the females of the town, in what could have been flimsily performed by most others; obviously being in everything never hindered her performance here.

For all of its good nature, The Help does have flaws. Although the film has a lot going for it, there is a one-dimensional feel in what it is striving to achieve. The concept that a young aspiring journalist was the catalyst for something so huge is a nice thought, but seems contrived despite the lengthy running time. Aibileen and Minnie are independent figures, so it needed to be ensured this is what they remain throughout. The glossy sun-spilling cinematography glitzes over some scenes which could have done with darker undertones – but squabbles aside, it means the film is beautiful to look at.

All in all, no help required to watch this one. Enjoyable, if overlong.

3/5

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