Lincoln

2012, 12, Directed by Steven Spielberg
Starring: Daniel Day-Lewis, Sally Field, David Strathairn, Tommy Lee Jones

In development for long enough to question whether Steven Spielberg’s planned opus of American historical legend Abraham Lincoln would actually make it onto celluloid with a credible filmmaker responsible, the aptly-titled Lincoln finally makes its grandiose arrival on the big screen with nothing short of universal widespread acclaim attached to it. Like we knew it would.  Like or dislike the ‘Spielbergian’ stature his films belie, it proves tough not to carve high expectations at what’s to come, and clench the arms of your seat tightly as the film begins. For not only has the renowned director, behind some of the biggest blockbusters the world’s seen, appeared to have made something cut more from the same cloth as his smaller-but-equally-dramatic efforts like, say, Munich, but has compiled a character actor cast to end all character actor casts – led by character-acting sensation Daniel Day-Lewis.

As far as historical biopics go, this is transcendant of what audiences will come to expect; bravely overlooking Abe's personal history for the history he created, we are spared of any troubled past he may have had, of any struggles he contended with - of what made Lincoln the President he was. Instead, Spielberg pinpoints a legacy-defining spectrum of his life, providing us with much of this context without clogging the film with unecessary development... In a film with a running time of 150 minutes, you'd agree this to be important. As the Civil War continues to end lives on the battlefield, Lincoln is forced to fight a war with his fellow cabinet members over a crucial decision to pass the 13th Amendment, which plans to see all slavery abolished. This means prolonging the oncoming peace of the ongoing war whilst he ensures the Congress will pass this law he is so intent on changing, providing solid investment to this part of Abe's presidency - a strand that could have been flitted over in the hands of many other directors. The outcome may be written in school text books, but these performances will restrict your eyes from straying. Two-time Oscar winner Day-Lewis is streamlined as Lincoln, a sea of calm despite the convoluted pressure he is forced to face in order to reach the conclusion he so yearns. A man of few words, the president provides anecdotes every so often, like a little-used wind-up toy; this is the very definition of show-stopping, perfectly complemented by Tony Kushner's screenplay: each would be great without the other, but combined? Something special emanates from Spielberg's film. Sally Field, as his erratically-minded wife, provides able support and scene-steals every scene Day-Lewis isn't in; Tommy Lee Jones as Republican Thaddeus Stevens is everything you have come to expect from the actor, providing heart in a gruff role; David Strathairn, Hal Holbrook, James Spader, John Hawkes - this is an astoundingly-assembled cast who all add depth to their otherwise indiscernible figures. It says a lot about a cast when Joseph Gordon-Levitt is the weak link (here playing Lincoln's son, Robert.)

But Lincoln, for all of its merits (and Academy Award nominations - 12, in total) is by no means perfect, and at 150 minutes, far too long. It appears that Spielberg's heartfelt summer tentpoles are something of the past, for Lincoln doesn't only require time, but attention - no toilet breaks for this one. Think Inception - but in place of action, you have dialogue. Once invested however, there is no danger of losing interest - and an overwhelming feeling that lingers throughout will make you wonder whether the renowned director has reached a new stage of filmmaking. For a man who has been crafting masterpieces for decades, his portrayal of Honest Abe could be one of his most honest pieces of work yet.

4/5 

Click Here to follow Jacob's Film Cabin on Twitter!

Readmore...

Les Misérables

2012, 12, Directed by Tom Hooper
Starring: Hugh Jackman, Russell Crowe, Eddie Redmayne, Anne Hathaway, Samantha Barks, Amanda Seyfried, Helena Bonham Carter, Sacha Baron Cohen, Aaron Tveit   

Usually, you find that people don't tend to like Les Misérables, the theatre sensation seen by over 60 million people across 42 countries... they unconditionally love it; an unthinkably tough undertaking then for Tom Hooper (looking for another King's Speech-sized hit) who has been potentially disastrously tasked with applying the Claude-Michel Schönberg, Alain Boublil and Herbert Kretzmer pinnacle of all musicals to cinemas. If that wasn’t pressure enough, Hooper has opted to shoot his subjects singing as the action transpires – in other words, live. Three cheers for none of that distracting miming! This does mean the film requires – due to this bold directorial decision (something of a revelation for a film this big) - actors who can actually hold notes. 

The story, for those not included in the hefty stats mentioned above, tracks prisoner Jean Valjean, first seen lugging warships from the ocean alongside thousands of his fellows. Prison guard Javert releases him on parole, but Valjean skips town and 8 years later, is an established factory owner in the town he has become mayor of. But through an encounter with factory worker Fantine, struggling to fend for her illegitimate daughter Cosette, he happens upon a chance encounter with Javert, who swore 8 years previous to one day bring the escaped convict to justice. Fans know this is the tip of a very large and loud iceberg – bear in mind, the musical’s source material is Victor Hugo's five-volumed brick of a novel – but at its heart, Les Misérables is Valjean’s story, a moral man who fears his petty villainy of the past may threaten whatever happiness he aspires to reach. Hugh Jackman plays the man, showcasing this moral crisis through the emotion-layered vocals. A much-loved character in theatre, Jackman won't be to everybody's taste as Valjean, but what he adds to the role in this different medium amounts to breathtaking; a career best, even. He is backed up by a supporting cast of individuals who each grab their moment when it presents itself, Anne Hathaway the one on most people’s lips. Her Oscar-winning (c'mon, she's a dead cert!) portrayal of Fantine may be brief but it lingers throughout the film, her effect on Valjean's life echoed through the lingering lyrics of the hugely enjoyable, and bloody catchy, songs. Russell Crowe's performance should do enough to put a full stop to all the critical comments undeservedly hurled his way - as Javert, he seems humbled and contained; a welcome screen presence whenever he rides his horse into the frame. The remainder are all able: Amanda Seyfried (the film's weakest addition, as Cosette,) Eddie Redmayne (the singing student revolutionist, Marius,) and plucked from the stage in her first screen role, Samantha Barks (she doesn't so much become Éponine as use her to showcase a burdgeoning film career ahead of the actress.)  Mention must go to the Thénadiers AKA Helena Bonham Carter and Sacha Baron Cohen rollicking around amongst all the doom and gloom in their crazy garb. In what could have been a serious bout of scene-stealing, it's a disappointment that the flamboyant pair (especially the former) underplay it as much as they do. 

At 158 minutes, it's no wonder that Les Misérables threatens to become a slog - but the fact it evades this ensures Tom Hooper's adaptation is the resounding success it deserves to be. The cast do all they can without going overboard, and the merging of the epic visuals and contrasting close-ups, filled with much more than your daily dose of falling tears, clenched jaws and warbling throats hits the right level of entertainment - theatre die-hard or hesitant boyfriend; plenty here for all to sit back and enjoy. 

Once the climax rolls by, regardless of whether that lump has formed in your throat or not, you'll have to fight the irrepressible urge to stand and applaud the cinematic experience that has just been offered to you. You will hear the people sing, alright.

4/5

Click Here to follow Jacob's Film Cabin on Twitter!

Readmore...

Beasts of the Southern Wild

12, 2012, Directed by Benh Zeitlin
Starring: Quvenzhané Wallis, Dwight Henry, Levy Easterly, Lowell Landes

 A scintillating debut from Benh Zeitlin, Beasts of the Southern Wild may be hard to pin down, but it has unprecedentedly carved itself out as the independent film of 2012. Perhaps this is due to the director's captivatingly-crafted concept of a Louisianan Bayou community - branded ‘The Bathtub' - separated from the rest of mankind by a levee, allowing its residents to run amok within their own special community. It could, and probably is, equally thanks to Quvenzhané Wallis, a 9-year-old newcomer who has arguably out-acted every actress in the business playing Hushpuppy, a remarkable character brought to life by the little gem (as it stands, she is officially the youngest ever person to be nominated for a Best Actress Academy Award.) The truth is, Beasts of the Southern Wild is a magically effortless watch that remains – despite its attempt at commenting on eco issues of today – a pleasure to endure. Hushpuppy’s opening narration, occurring as we witness her escapades amongst the close-knit community, divulge all the information the audience require; one day, 'The Bathtub' will sink, the weather eroding every last man-made shack away. Until then, they aren't being moved. 

Six years old in the film, Hushpuppy’s fending is overseen by more mentor than father, Wink (Dwight Henry, plucked from a local New Orlean bakery to appear in Zeitlin’s film) whose ailing health is something that isn’t to be acknowledged. Henry is a sensation, bounding his way through the entire running time, bringing life to a role that has the life leaving him. The film has overarching allegorical themes, none more thematic than a particularly aggressive storm releasing ancient aurochs which are shown to be charging through the film aimlessly with every other scene. Nothing is aimless in this film however, with Hushpuppy the heart that sustains the life that surrounds her. Zeitlin embraces the fantastical, depicting his vision amongst a setting unfamiliar to most, hence making it strangely understandable; we are told how Hushpuppy’s faceless mother presence, who provides Wallis’ character with an aim, is a figure whose very presence could ignite flames and boil water – this is recollected to us by Wink. The point is, in this separated community increasingly under threat, anything is possible... And after the recognition the film has received from this years Oscar nominations, for first-time director Benh Zeitlin, possibilities are endless.

4.5/5  

Click Here to follow Jacob's Film Cabin on Twitter!

Readmore...

Life of Pi

2012, PG, Directed by Ang Lee 
Starring: Suraj Sharma, Irrfan Khan, Rafe Spall, Tabu

Much has been said about the doubt that surrounded the production of Life of Pi when the rights to adapt Yann Martel's novel were acquired almost a decade ago. Directors came and went (M. Night Shyamalan, Alfonso Cuaron, Jean-Pierre Jeunet) before Ang Lee took hold and - thankfully - never let go. The doubt stemmed from what is the film's centrepiece second act; a boy's family and animals from their dried-up zoo are being escorted from India to Canada when a storm causes the ship to go down. The boy, Piscine Patel (shortened to Pi due to a bout of bullying) is stranded in the middle of the ocean with nothing for company except Richard Parker; a savage Bengal tiger. That Lee successfully imagines Martel's pages is an understatement; visually, this is a success of home-run proportions.

The film's opening in India, doubled with the glorious soundtrack pitted to the roaming animals of the family's zoo is perhaps one of the most aesthetically-pleasing opening credits sequence that completely captures what this film is about - 3D has never been so relaxing. Once the shipwreck has occurred - the 3D of which has never been so breathless - the visual interplay between Pi and his animal companions (not to spoil anything, but there's a few) is movie magic, the unpredictability of the creatures ramping up the heart race. Ang Lee may have once weighed down his interpretation of Hulk with unnecessarily bold bravura, but if Life of Pi is lesson learned then Hulk could find fresh appreciation in Hollywood. Lee creates scenes within scenes, changing nothing but backdrop and uses the heavy inclusion of water to his advantage; the number of underwater scenes that depict characters as if they're soaring through the clouds is, simply put, pleasant to watch. Just sit back and revel at the spectacle of a whale leaping out of the expansive sea, luminescent with jellyfish.

As for the film’s acting talent, Suraj Sharma's debut which sees him acting alongside nothing but CGI (the most finely-tuned since Rise of the Planet of the Apes) is so on the money you don’t even realise it. No wonder he’s just been selected for the BAFTA Rising Star award. Irrfan Khan and Rafe Spall as the adult Pi and a writer looking for a good story respectively hits the right notes in the bookending present-day scenes. Whichever way you view the divisive third act may slightly hamper your enjoyment of all that has come before and will leave you hungry for explanation; however, the film’s spiritual undertone is prevalent from the outset, and does require you to extend your mind if you wish to draw conclusions from the narrative, even though ambiguity will still remain. Because at its core, Life of Pi isn’t a film about belief – it’s about storytelling...and what a story this is.

4/5

Click Here to follow Jacob's Film Cabin on Twitter!

Readmore...

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

Readmore...

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

Readmore...

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

Readmore...