Seven Psychopaths

2012, 15, Directed by Martin McDonagh

Starring: Colin Farrell, Sam Rockwell, Christopher Walken, Woody Harrelson 

Scriptwriter Marty (Colin Farrell) becomes embroiled in the criminal underworld of LA when his best pal (Sam Rockwell) kidnaps a Shih Tzu from a psychopathic gangster (Woody Harrelson.) The situation proves life-endangering for Marty, but beneficial to his script 'Seven Psychopaths', which is running short of characters. Martin McDonagh's eagerly-anticipated follow-up to 2008's In Bruges is a less contained, more frenetic Coen Brothers-meets-Tarantino yarn that contains perhaps more ambition, and certainly more crazed characters than its predecessor. Balancing the laughs with drama is a difficult thing to do, with McDonagh not particularly attempting to make a striking attempt, instead opting for violent death scenes that are layered with laughter. As a result, story is embraced over character; not that Seven Psychopaths should be judged on this. For what McDonagh has crafted is heightened by an unpredictable razor sharp script that translates to big screen with success. 

Christopher Walken as the mysterious Hans proves the film's standout (no surprises there,) although Rockwell and Harrelson both do zany, madcap and unhinged scarily well - the former an absolute knockout as Billy. Even Tom Waits' miniscule role as a serial killer who shows up on Marty's doorstep following an advertisement for psychopaths in a newspaper remains in the memory. It is down to Farrell to encompass the moral viewpoint of us audience members as the average Joe helplessly involved in the brutal bloodshed; granted, some of the film’s comedy comes from this stance – however, unlike In Bruges’ Ray, Marty's wide-eyed terror wears a little thin. A muddled structure soaks up a lot of the film’s gleaming qualities, with the feeling cropping up far too often that the film – like the eponymous script – has no clue where it’s headed. 

Although the film lacks as much empathy as its psychopathic counterparts, it remains a hilarious rollicking romp that encourages a re-watch, just as well as you sit back and revel in the meandering shenanigans and embrace the notion that Martin McDonagh is doing his utmost to entertain. Which he has done once more with a resounding success. As quotable as In Bruges. Sadly, just not as good. Perhaps seven is too many psychopaths for one film. 

 3.5/5

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The Hunt

2012, 15, Directed by Thomas Vinterberg
Starring: Mads Mikkelsen, Thomas Bo Larsen, Annika Wedderkopp, Lasse Fogelstrøm

It has almost been two decades since Thomas Vinterberg's Dogme-entry Festen was unveiled upon an unsuspecting world. But now with the Danish director returning to the radar in the UK (for the first time since 2004's Dear Wendy), he has recaptured his directorial flair through crafting another genuinely mesmerising picture about the issue of child abuse. The Hunt is little-less than flawless in its abilities at depicting what occurs when a popular male nursery school teacher is falsely accused of sexual misconduct due to one little girl's casual accusation. Making an impossible situation all the more worse, that same girl is the daughter of his best pal. Casino Royale’s Mads Mikkelsen takes this challenging role, delivering a Cannes-winning performance that deserves every future accolade laid upon him. As Lucas, he manages to deeply solidify his innocence to such an extent that the close-knit town's reactionary ambush of someone they once loved makes for painful viewing; initially surprised at hearing the accusation has been made, the unjust actions that follow prove to Lucas that this isn't something that can simply be brushed under the table in time for tea. 

Once you are invested into what The Hunt is all about, the way is paved for certain standout scenes to stop the heart - most notably, scenes in which Lucas visits the local supermarket, or attends Christmas Eve mass. Not only do these scenes stop the heart, they come close to breaking it. Cards are laid on the table from the offset - there is no doubt, no twists, no rug-pulling; this is a likable guy who has fallen victim to a false accusation that cannot be ignored and, as enduring time proves, will never be forgotten. The Hunt, hugely relevant due to recent news, is terrifying. Raising questions that will linger in your memory for some time after, the way in which Vinterberg depicts these gruelling events to a backdrop of autumnal bleakness is just one of the countless reasons you should hunt down this immersive character study. 

4.5/5

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Rise of the Guardians

2012, PG, Directed by Peter Ramsey
Starring: Chris Pine, Alec Baldwin, Hugh Jackman, Isla Fisher, Jude Law

Just when you thought there was to be no annual festive cinema trips to be had, Dreamworks Animations’ adaptation ofWilliam Joyce's Rise of the Guardians arrives just in time to salvage the imminent disappointment families the world round would feel if there had been none. Although not the Christmas film one might have hoped for, a central figure is the big guy himself, Santa (here inconspicuously named North,) who we are led to believe is in cahoots with fellow 'Guardians,’ - innately-believed-in figures including the Tooth Fairy, the Sandman and the Easter Bunny. These Guardians must not only Rise (apologies,) but enlist fresh meat in Jack Frost, when Jude Law's hammy, slightly annoying and oh-so very British Bogeyman Pitch aims to stamp out all children's innocent beliefs in these loved icons. Kidnapping tooth fairies, removing Easter eggs; Pitch could quite potentially be the most evil villain committed to animation in quite some time. How could he not be?

Where Rise peaks is in the charming characterisation and assumed relationships between these figures - Hugh Jackman's Aussie twang brings countless chuckles to almost all of Bunnymund's dialogue, and his one-upmanship with Chris Pine's Frost leads to entertainingly well-captured set-pieces. Alec Baldwin's Russian Santa is a grandiose, loveable yet authoritative leader with the words 'naughty' and 'nice' tattooed on each arm. Top marks for fresh incarnations. Isla Fisher rounds out the voicing talent, making her fairy Tooth, a sweet one. Opting to leave the Sandman voiceless - a figure arguably not as etched out as the rest - proves to be a credible decision; it's left to the animators to provide him more character as a silent, cuddly presence. 

Strangely lacking in Christmas cheer (lots of snow, but set at Easter,) this is stellar franchise-fodder by Dreamworks to deliver Shrek and Kung Fu Panda levels of family fun, proving themselves as reliable as...well, as reliable as our gift-delivering Guardians. Who you all believe in...right? 


3.5/5

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Gambit

2012, 12, Directed by Michael Hoffman
Starring: Colin Firth, Cameron Diaz, Alan Rickman, Tom Courtenay

A screwball crime-caper scripted by the Coen Brothers is a reason to generate excitement in even the most casual of film fans. Throw into the blender a mix-bag of talent, including British thesps Colin Firth and Alan Rickman, as well as a certifiable actress in Cameron Diaz, and what you have is a recipe for success. Right? Regrettably, not in Gambit’s case. 

Heavily reliant on these three A-listers to deliver the frankly sketchy dialogue, director Michael Hoffman (One Fine Day, The Last Station) has the right intent. There will be those that find it easy to slate the film's wayward storytelling and plot, which follows Firth’s art curator Harry Deane, who enlists the aid a Texas rodeo queen as done by Diaz in order to con his pugnacious boss, Lionel Shabhander (a more eccentric-than-ever Rickman) in a scheme involving an ancient piece of art, a lion, Japanese translators and Colin Firth trouser-less on a balcony at the Savoy for what seems to be the entire running time. Perhaps Gambit juggles too many poorly executed running gags; the stakes are too high for a film that comes close to some form of hilarity, but never quite succeeds. When a grin is raised as Firth's Deane stumbles around the Savoy in his boxer shorts, it feels like a guilty one. 

Underneath its surface, there is a wry British charm in there somewhere, and although poorly constructed, these caricatures still let the hugely-famous actors escape with their popularity intact. So, not the success it could – well, should - have been; Gambit will hopefully not be guilty of staining the Coen Brothers’ admirable repertoire, but of suspecting itself to be something a whole lot better than it actually is.  

2.5/5



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Celeste and Jesse Forever

15, 2012, Directed by Lee Toland Krieger

Starring: Rashida Jones, Andy Samberg, Emma Roberts, Elijah Wood

Celeste and Jesse are best of friends; they make plans around each other, they finish each other's sentences, they have in-jokes galore. Celeste and Jesse are also divorcing. Here lies the premise for our two eponymous characters, played by Rashida Jones and Saturday Night Live regular Andy Samberg. Rom-com would be the wrong word to apply, for at its centre, C+J Forever is more bitter than sweet. You could perhaps map out the gestating plot arc if asked, and do so with relative success, but it doesn't make these moments any less painful or hilarious (the two fortunately not linked) to witness - no doubt enhanced if divorce is something personally experienced. There are laughs to be had - many, in fact - with Rashida Jones, who impressively shares a writing credit alongside Will McCormack, taking it upon herself to highlight her on-screen presence as something that needs to be applauded. Reduced to far-too-similar supporting roles in the past, if Celeste and Jesse Forever does one thing, it should be to launch this girl to superstardom. Samberg proves likeable enough as Celeste's Jesse, with Lee Toland Krieger's direction resting simply on the pair's chemistry. The film raises plenty of questions about love - admittedly, too many to make you feel comfortable - and this may be the reason the film successfully evokes the appropriate emotion when needed, something romantic comedies rarely do these days. The occasional misstep (a massively understated plot turn is no big deal to the character it'd be the biggest deal too, not to mention an unnecessary sub-plot involving Emma Roberts' teen singer Riley Banks,) but it's easy to forgive those when you're viewing a film so charmingly brutal, - and one that doesn't fear standing up to Hollywood expectation.

4/5

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Argo

15, 2012, Directed by Ben Affleck

Starring: Ben Affleck, John Goodman, Bryan Cranston, Alan Arkin

 

 

 

There comes a moment in Argo, Ben Affleck's third stint behind the camera, where feeling relaxed in your cinema seat will become something of a distant memory. This feeling will inevitably be followed by clammy hands, a speedy heartbeat and seat-shuffling galore, topped off with a silent affirmation for Affleck's credibility as director. If none of the above applies - Argo, for you, is a write-off; a genre-stabbing mash-up of striking cinematic genres that offers a slim amount of originality. If that's the case, then with all due respect, more fool you.

Six members of the US embassy are forced into hiding in Tehran during the 1979 Iranian Revolution, holed up in the Canadian embassy for months after their building is stormed by rioters. With the CIA at a loss of how to extract the American’s out undetected, the CIA’s ‘exfiltrator’ Tony Mendez (Affleck takes starring role, levelling it out with full 70s hairdo) propose an out-there plan: they use their Hollywood contacts to announce production on Argo, a science-fiction adventure that transforms him into hotshot producer who must fly to Iran to scout locations for the shoot. Code for: smuggle the American’s out of the country paraded as Argo’s film crew. A script-reading and Variety article later, Argo is go. As Breaking Bad's Bryan Cranston admits, 'It's the best worst idea we have.'

Kicking things off in fifth gear, setting up the US embassy’s situation, once the film’s pace slows to allow for the story to present itself, you'll feel deeply embroiled in the 70s aesthetic that is pulled off well. The cinematography, the colour palette - even the old-school Warner Bros logo used as the film begins stays in your mind. Somewhat more strikingly, as the film finds its footing, the political genre becomes Affleck’s focal point. Contrast these All the President's Men-esque office-rushing and intel-sharing scenes with the ensuing movie industry satire that follows (think Get Shorty with John Goodman and Alan Arkin as a director/producer duo  – magic combo,) it is surprising how little this alienates, and instead how accessible the plot transition becomes; crucially never playing it for laughs, the two slot in rather well. Their delivery ensures no need for the script to strive for the comedy. It all comes natural. It's no less of a credit to Affleck as a filmmaker though that he knows when to leave the lightheartedness behind, and delve headfirst into the matter at hand. The guy proves with confidence that he knows how to give a good go at several genres in one audacious feature, but also is savvy enough to know when to move swiftly on when you could assume you’re onto a winner.

 Once the extraction mission is in full swing, the tension heightens to mind-blowing heights. Although the crew are severely underdeveloped, you never once fear any less for these characters that Mendez is attempting to rescue. In a film where the line of good and evil is pretty plain to see, Affleck refuses to insult the intelligence of the viewer, opting instead to direct with a panache so discreet that it's always clear what's occurring. Fundamentally, whichever opinion is formed, it all boils down to one common hope between the nail-chewing audience members: let them get home safely.

 

If characterisation was applied successfully - namely to Mendez and his family relationship that unfortunately adds nothing when an attempt is made at carving out some form of dynamic between he and his son - Argo could have been sublime. It just falls short. The final stretch may come under fire for being drawn out, extending the running time for a bit too long. As it is, it's doubtful you'll experience as tense a final third for quite a while, with the editing of Affleck's brilliantly-captured scenes doing everything that needs to be done. After acclaim for previous films Gone Baby Gone and The Town, all eyes were on this film to be the clincher. Ben Affleck nails it once again, further proving - and maybe removing all doubt in the process - that he is a truly gifted maker of films.

 

 

4.5/5
 

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The Sessions

15, 2012, Directed by Ben Lewin
Starring: John Hawkes, Helen Hunt, William H. Macy, Moon Bloodgood

There are times when an astounding story can open your eyes to matters you never paid any thought to because you felt you never needed to; then there are those you are simply blissfully unaware of. The Sessions tells the story of poet and journalist Mark O'Brien (John Hawkes), a disabled individual who, due to a bout of polio as a youngster, is confined to an iron lung, unable to move any part of his body save for his head. 38 years of age, Mark’s visits to his local priest (William H. Macy, on fine form) lead him to Helen Hunt's sex surrogate Cathy in a bid to lose his virginity. A tough sell for a film indeed. But no need for worry. Writer/director Ben Lewin tackles the true-to-life story (based on articles, poems and journals O'Brien himself wrote) with aplomb, flitting from scene to scene without a worry over the pressure of dealing with such a sensitive matter. Hawkes' portrayal of O'Brien, all witty asides and down-to-earth musings, is really quite something - proving that for all his Winter's Bone and Martha Marcy May Marlene silent and uneasy exterior, he can deliver when tasked with the more challenging performances. And boy, does it speak for itself. 

Hunt's professional therapist is good on-screen company for Hawkes, the two forging an unlikely but convincing chemistry. Most interesting are her scenes when she returns home from her sessions with O'Brien; evidently more difficult to leave him behind each time (she immediately points out six sessions is the limit; sex surrogates aren’t prostitutes, after all,)  the interactions with her husband, and their forced pillow talk – compared to her lively fluent conversations with her patient - could have been mapped out to add flesh to Cathy's bones.

Attempting to split the strangely-rapid scenes by cutting to O'Brien's talks with H. Macy's priest to fill in the gaps prove just a little mismatched to the remainder of the film. At times, it appears Lewin worries some scenes are outstaying their welcome, when you just feel it simply could have been more effective if shown. Not least because the application of the overused voice-over technique genuinely works well in this instance. After all, if anyone's thoughts are going to be intriguing to hear, it's going to be a man with an iron lung who spends most of his time thinking.

Although Lewin's script may brush over the more nasty aspects that may come with the territory (perhaps his point - Lewin himself is a former polio sufferer,) the central performances complement the astounding story, if not to as an astounding degree as you’d hope.  But as the laughter pours out, you'll marvel at how a film about a guy unable to move his body can be so heartwarming. In other hands, The Sessions could have been littered with sentimental schmaltz. In Lewin's grasp, it is so much better, if perhaps played a little too much for smiles. 

3.5/5

 

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