Film Review: Selma

Ava DuVernay’s Selma is a historical drama which is equally parts moving and absorbing.

In 1965, Dr Martin Luther King Jr. and his supporters attempt to help secure equal voting rights for citizens in Selma, Alabama. In the face of violent opposition, the civil rights activist plans a march from Selma to Montgomery…

Selma is a finely executed historical drama. Director Ava DuVernay guides the story with precision; concentrating on the events during a three-month period rather than more infamous aspects of King’s story and the civil rights movement. The film allows for pensive moments and sincere dialogue without a lapse in pacing. The conclusion is build towards with the requisite tension it requires.

The story that the film focuses on functions on a number of levels. There is a keen awareness, referenced in the film, that this is just one struggle of many within the movement. Moreover, the film gives viewers enough indication of Martin Luther King Jr. as an individual without the need for an encompassing biopic. Finally, Selma is powerful in its depiction of real struggles and tragedies.

Selma features a story that took place at a pivotal period in the civil rights movement. The film has additional weight given that some aspects portrayed are sadly mirrored in recent events that have taken place in the US. There are several moments in Selma that feel poignant, and DuVernay executes these effectively.

Bradford Young’s cinematography is decent throughout. The use of lighting is particularly strong. Costumes and stylings are also good, as is the film’s score.

David Oyelowo gives a convincing performance in Selma. Playing a much recorded character, the actor had a lot to live up to. Nevertheless, Oyelowo carries it off incredibly well; the lack of an Oscar nomination for this role is surprising. Tom Wilkinson and Carmen Ejogo offer good support.

Selma tells an important story, and has been released at a pertinent time. Highly recommended viewing.

Film Review: Ain’t Them Bodies Saints

Writer and director David Lowery’s Ain’t Them Bodies Saints is an absorbing drama.

Convicted outlaw Bob Muldoon escapes from prison in order to reunite with his wife, and the daughter that he has never met…

Ain’t Them Bodies Saints is character-focused, rather than being a plot-driven film. There is not much too the plot. Instead, Lowery’s film concentrates on its two protagonists. Emotions in the film are conveyed acutely.

Ain’t Them Bodies Saints is a slow burner. It takes a while for things to get going, and even then proceedings move at a near-glacial pace. As a result, the film is not likely to appeal to or please all viewers.

Those that give Ain’t Them Bodies Saints a go will be rewarded with a film that takes its time to develop characters. It is this evolving of the main characters that leads to an intense conclusion.

There is a melancholy to the film which is palpable. Ain’t Them Bodies Saints is successful in generating atmosphere. This is aided by the remote setting. However, it is the style of the film and its themes which create the sense of passion that permeates the film.

Ain’t Them Bodies Saints evokes Bonnie and Clyde; there are a number of parallels between the two films. Both romanticise the outlaw as a complex figure. Furthermore, Ain’t Them Bodies Saints places a love story within the confines of violent crime, just like the 1967 film.

The cinematography in Ain’t Them Bodies Saints is fantastic. Bradford Young’s visuals are most attractive. The film’s sound is also highly effective.

Casey Affleck delivers a strong central performance. Affleck is entirely believable as Bob Muldoon. Rooney Mara is also convincing as Ruth Guthrie. Other performances, such as Ben Foster’s Patrick are also decent.

Ain’t Them Bodies Saints immerses viewers in its sumptuous but haunting atmosphere. An impressive second feature from David Lowery.