Film Review: Widows

Steve McQueen’s Widows is a brilliant thriller, and a testament to the director’s cinematic mastery. The film is a tour de force. 

After a robbery goes wrong, the wives of criminals find themselves in debt to the wrong people. The women decide to take their fate into their own hands with an audacious plan…

There is so much to love about Widows that is pretty much impossible to find fault. With a screenplay by McQueen and Gillian Flynn, based on the Lynda La Plante novel, Widows offers a gripping narrative, multi-dimensional characters, and superlative filmmaking. 

From the startling jump cut opening (brilliantly edited Joe Walker), Widows is a film that grabs viewers and refuses to let go. The plot is fairly straightforward, yet there are so many elements which elevates the film way above a standard thriller. The pacing works well, rather than simply build tension towards a big heist, McQueen creates multiple strands, each with a sufficiently rich narrative. The characters are finely tuned; the protagonists have depth and feel realistic. The film is tense and captivating, and the finale almost breathtaking. Widows is a rare film in that the dialogue heavy and the action packed scenes work equally well. 

On the surface, Widows may be a heist thriller, but in reality it is so much more. The film has multiple layers. It is interested in what happens to women who aren’t the main breadwinner, and how they pick up the pieces in an unexpected circumstance. It considers political climate in the US through the local election battle. Political dynasty, the entitlement of a certain demographic, and the pursuit of power are all touched upon. McQueen also turns his lens to the divide between rich and poor, and the realities for black people in America. None of these elements are overplayed, instead they are enveloped by a well-crafted narrative.

McQueen and cinematographer Sean Bobbitt do some really interesting and effective things with the camera. The scene in which Jatemme and his crew confront the two young men is finely executed. The circling camera heightens the tension immensely. Likewise, later shots following the heist and the startling opening sequence show the talent behind the camera. Hans Zimmer’s score is great, and the sound design immensely effective.

The ensemble cast are all on form. Viola Davis is as convincing as ever as Veronica; she perfectly conveys the grief, anger and fear of the character. Elizabeth Debicki and Robert Duvall are also great. Daniel Kaluuya stands out in particular. Kaluuya is incredibly menacing as Jatemme; his believability is testament to the actor’s versatility.

Widows is Steve McQueen’s most accessible film to date. Yet it loses none of the artistry that we have come to expect from the filmmaker. Undoubtedly, Widows is one of the best films of the year.

Widows opens the BFI London Film Festival on 10th October 2018.

Film Review: Dunkirk

Christopher Nolan once again proves himself the master filmmaker with the astounding Dunkirk. The film is unmissable. 

In 1940, Allied soldiers have been pushed back to Dunkirk by the German army. As British soldiers wait on the beaches to be evacuated, time is running out to get thousands of men to safety…

Christopher Nolan has proved himself adept at working in a number of genres, so there were no major concerns with him tackling the war film. The result of this endeavour is a tense, enthralling movie. It is one that respects the historical reality of its subject, yet does not fail to deliver spectacle. 

Dunkirk does not give the audience even a minute to settle, with tension immediately in the air. This is unrelenting through almost the entire duration of the movie. There is little reprieve, as the film focuses on a number of situations, all entering the thick of the action. The momentum builds in the uneasiest of manners, there is a sense of foreboding that emerges early on.

The film offers a few characters for the audience to get behind; it is clear that survival is the name of the game. There are not the clear heroes and villains we so often see; Nolan is more subtle than this. The film is most nerve wracking, but audiences will not want to miss a second of the film. Dunkirk lays bare the horrors of war, in particular the brutality facing soldiers. Similar to Hacksaw Ridge‘s visceral depiction of the battlefield, Nolan depicts the tension and terror of simply trying to survive. It is a depiction well worthy of acclaim. 

Dunkirk should be seen on IMAX 70mm screens if at all possible, to do the film full justice. Nolan’s direction is masterful; action is portrayed in a highly realistic fashion. He really situates the viewer at the heart of action. The sound design adds immensely to the visual spectacle. Hans Zimmer proves his incredible talent with another powerful score. There is little dialogue in the film. The narrative does not really require much talking when the visuals and sound are so impactful. Performances are good throughout; Fionn Whitehead and Mark Rylance stand out in particular. 

Dunkirk will stay with viewers long after they leave the cinema. It will be fascinating to see what Nolan tackles next. 

Film Review: Hidden Figures

Theodore Melfi’s Hidden Figures is a feel-good film with great performances from its ensemble cast.

In 1961, the United States are in a race with Russia to see who can put a man in space. NASA finds untapped potential in a group of African-American female mathematicians working as human computers. Three of these women play a vital role in the space race…

Hidden Figures tells an important story about the achievements of three women with the odds stacked against them. Based on Margot Lee Sheerly’s book, the film gives worthy recognition to these women and their story. What makes Hidden Figures special is that it is incredibly entertaining, as well as informative.

Melfi’s storytelling makes the film a joy to watch. Hidden Figures first contemporary scene does a succinct job of making viewers aware of the social condition of the era, as well as giving a quick insight in the three main character’s personalities. As the film progresses, Melfi explores each of these characters with sufficient depth, taking place in the overarching narrative of NASA’s mission to put a man in space.

The film combines drama with comedy in a seemingly effortless way. Melfi offers humour throughout, although the film is punctuated by moments of drama and a tense climax. The romance strand is explored just enough, giving an insight into a home life for the extraordinary women. Katherine, Dorothy and Mary are portrayed as talented women who manage to break through an almost overwhelming hierarchy. However, they are each portrayed as characters in their own right, and with enough personal detail. There is an element of the benign father figure to Al Harrison, however this does not detract from the entertainment of the film.

Tara P. Henson delivers strong performance as Katherine Jackson. Octavia Spencer, Kevin Costner, and Kirsten Dunst are also good. It is Janelle Monáe, however, who stands out as Mary. Music by Hans Zimmer, Pharrell Williams (who also produces), and Benjamin Wallfisch ably sets the tone. Costumes and styling in the film are polished and appealing.

Hidden Figures gives rightful attention to the overlooked contribution of three African-American trailblazers of the 1960s. It tells their stories in a very engaging and warm manner.

Film Review: Interstellar

Christopher Nolan’s science fiction epic is spectacular and engaging. Interstellar is a visual feast that demands to be viewed in IMAX.

Cooper is a pilot turned farmer who lives with his young family. With human kind under threat from climate change, an exploration mission to space could be the key to saving the species…

Director and co-writer Christopher Nolan harks back to classic science fiction with Interstellar. The film explores notions of sci-fi on a large scale, combining drama, action adventure and spectacle. Nolan’s direction is strong. He carefully builds tension for some gripping moments. There are definite shades of 2001: A Space Odyssey in the progression of the film.

Interstellar‘s narrative is carefully crafted. The slow burn first quarter of the film pays dividends later on. Science in Interstellar is never overly complicated, yet is a meaty enough hook. The film explores ideas that will capture the imagination of most viewers.

The worlds that Interstellar explores are great, What is interesting about the first quarter of the film is that it gently reveals the world, giving the audience time to absorb it. What is presented is familiar, yet different. The film does not require a specific environment or time to be explicitly stated; the measured reveal is a more effective tool.

The main characters in Interstellar are well developed, with their individual motivations depicted clearly. As the protagonist, Cooper has a simple motivation, but this is rendered authentic during the course of the film. Performances are strong from the whole cast. Matthew McConaughey is well cast as Cooper, whilst Jessica Chastain and Mackenzie Foy are equally convincing.

Hoyte Van Hoytema’s cinematography in Interstellar is sublime. Nathan Crowley’s production design is also spectacular. Interstellar really is a film that needs to be seen in Imax, thanks to some amazing IMAX camera scenes. Hans Zimmer’s score is as good as ever, although the sound mixing in some scenes is not great.

Interstellar is an enriching addition to the science fiction cannon, and proof that large-scale genre efforts can be appealing to a wide audience.

Film Review: A New York Winter’s Tale

A New York Winter’s Tale is a bemusing fantasy drama. There are flashes of what writer-director Akiva Goldsman appears to be aiming for, but overall the film is a stupefying mess.

Former mechanic and current thief Peter Lake is on the run from his former boss. Breaking into a house, Peter stumbles across Beverley, a beautiful but sick young woman. This meeting changes the course of his life…

An adaptation of Mark Helprin’s novel, A New York Winter’s Tale features an interesting enough premise. The execution, however, leaves a lot to be desired. The intention of Goldsman is clear; he has aimed to create a romantic drama infused with fantasy and strong religious overtones. Nevertheless, the plotting is muddled and the characters are weak.

Rather than offering a measured introduction to the protagonists, action (and fantasy action at that) occurs early in proceedings. This serves to bemuse viewers more than anything else. Characters are developed slightly later in the film as relationships form. There is little to them behind the initial bluster. Peter and Beverly supposed to fall in love from their initial meeting. However this scene belies any intensity in feelings.

The problems that arise in A New York Winter’s Tale are both large and small. Pearly Soames is too caricature a villain to be taken seriously. His desire to track Peter requires a motivation which is absent in the film at least. Later in the film the audience is implored to root for a recently introduced characters without being given any real indication why they should care. On the lower end of the scale, it is inexplicable that the editor of a major newspaper would be over a hundred years old. There is no explanation for this.

Cinematography in the film is lush. Hans Zimmer’s score offers a quality that is severely lacking from the narrative and direction. Russell Crowe’s poor accent is distracting. Colin Farrell is adequate, but he and others have to contend with a poor script that elevates tired sentimentality above everything else.

A New York Winter’s Tale is amusing for the fact that it gets so much wrong. It is hard to believe that producers and actors would read the screenplay and think that it was a good idea.

Film Review: 12 Years a Slave

12 Years a Slave is a masterpiece. Steve McQueen’s film is powerful, brutal, and endlessly compelling.

In the 1940s, Solomon Northup is a free black musician from upstate New York. His comfortable lifestyle and loving family are ripped from him when Solomon is abducted and sold into slavery…

12 Years a Slave is a definitive film on the subject of slavery. Based on Solomon Northup’s memoir, McQueen’s film certainly packs a punch. The narrative works to pull viewers in. The use of flashbacks are effective in drawing a strong contrast in Solomon’s life pre and during slavery.

Steve McQueen’s direction is sublime. He does not shy away from presenting the brutality of Solomon’s story. The film is violent, in a realistic and disturbing manner. This is never gratuitous, but simply highlighting realities of the time.

Characters in 12 Years a Slave are depicted in a three-dimensional way. Screenwriter John Ridley carves a solid protagonist in Solomon, one that viewers will fully engage with. It is not difficult to feel immensely involved with the character, such is the injustice suffered. Other characters are equally well drawn; there are shades of grey among the good and bad.

12 Years a Slave is wonderfully shot by cinematographer Sean Bobbitt. The sunsets are key in marking the passing of time. Hans Zimmer’s score is gorgeous. There is a a striking juxtaposition between the beauty of the film and the horrific nature of what is depicted.

Chiwetel Ejiofor delivers a powerhouse performance that is sure to receive numerous accolades. Michael Fassbender is also excellent plantation owner Epps, while Lupita Nyong’o is superb as Patsey. There is a melancholia to her performance which is affecting.

The skill of McQueen, the cast and the crew is that they have taken a true story and made it cinematic without ever losing its potency. 12 Years a Slave is an unmissable film.

12 Years a Slave is being screened at the BFI London Film Festival in October 2013.

Film Review: Man of Steel

Man of Steel is a very entertaining blockbuster. Nevertheless, it does not quite reach the zenith of superhero movies set by The Dark Knight trilogy.

As a young boy, Clark realises that he is not like everyone else. As an adult, he drifts, helping people along the way. Clark is determined to find out where he came from and what his purpose is on Earth…

Man of Steel is an ambitious project, considering the success of the first series of Superman films and the lukewarm reception to Superman Returns. Zack Snyder’s film is a success, but not a masterpiece.

Man of Steel is very much a coming of age story, writ large and fantastic. The narrative concerns itself with the past of the title character, and the present of being on the cusp of discovery. The origins tale is told partly through flashbacks. The dialogue is occasionally cheesy, but this perhaps fits in with Superman as the ultra-American hero.

The two dominant themes in Man of Steel are morality and otherness. The emphasis on choosing the right path and so forth was a strain that ran through the earlier series of films. The focus on Clark as an alien however, seems specific to this film. This is dealt with in as natural way as possible, given the topic.

Hallmarks of director Zack Snyder are present throughout the film. His style is particularly noticeable in the frequent action sequences, which are mostly on a grand scale. The very last action scene is a little overlong, but for the most part these sequences are well executed. There is a heavy use of CGI in the film, but this should not come as a great shock to those familiar with the director’s earlier work. 3D works well in Man of Steel as it is not too overt.

Henry Cavill delivers a solid performance in the title role, and Michael Shannon is as strong as ever. Amy Adams, Diane Lane and Kevin Costner provide good support. Hans Zimmer’s score is a highlight.

Man of Steel is a big improvement on Superman Returns. Snyder’s film entertains for its 143-minute running time, although it is not exactly a peerless blockbuster.

5 Reasons Why The Dark Knight Rises Deserves Another Viewing

The Dark Knight Rises is out on home video from next week. I like the term home video, I hope it is used long after the last person to remember the magnificent video tape is dead. Anyway, Christopher Nolan’s film received its fair share of praise and criticism on its theatrical release. Having seen it a number of times, here are five great things about The Dark Knight Rises…

1. A Fitting Conclusion To The Dark Knight Trilogy

The Dark Knight Rises provides an apt ending to Christopher Nolan’s Batman trilogy. Referring back to events in the previous two films, The Dark Knight Rises wraps up events for all the continuing characters. Moreover the ending of the film is satisfying and in step with what has previous occurred in this Batman universe.

2. The Film Is Well Paced

Despite a common criticism that the film is overlong, I believe The Dark Knight Rises is perfectly paced. Without the substantial build up, the final third of the film would never have the impact it does. The initial slow build allows the characters and plot to develop, and generates tension for a remarkable final third.

3. The Soundtrack Is Excellent

Hans Zimmer’s score for The Dark Knight Rises is a fantastic accompaniment to the on-screen action.  At times bombastic, the score is memorable and an indispensable element of the film. It is also hugely effective, particularly in he scenes where Bruce Wayne attempts the climb.

4. The Film Delves Into The Batman Archive

Like the previous two chapters, The Dark Knight Rises references and borrows imagery from the comics, previous films and televisual outings of the caped crusader. Batman and Bane’s first meeting recalls imagery from the comics, while the reaction to the Bat Wing is not dissimilar to that in Tim Burton’s Batman. Even Anne Hathaway’s Selina Kyle appears to sometimes have an intonation to her voice reminiscent of Michelle Pfeiffer’s version of the character.

5. The Film Is Very Positive

Some critics have described The Dark Knight Rises as being gloomy, grim and depressive. I disagree with this contention; The Dark Knight Rises is one of the year’s most positive films. It is predominantly concerned with hope, played out most overtly through the Blake character. Rather than gloomy, the film is uplifting in its message, and at times exhilarating.

The Dark Knight Rises is released on DVD, Blu-Ray and Digital Download from 3rd December 2012.

Film Review: The Dark Knight Rises

The Dark Knight Rises is a triumph of contemporary Hollywood. It has set a bar that few superhero films will ever hope to reach.

Eight years after the death of Harvey Dent, Gotham city is a safer place thanks to the law enacted in the former district attorney’s name. The Batman has not been seen, and Bruce Wayne is living a recluse life holed up in Wayne Manor. A storm is coming however, one that looks to shake Batman from his retirement…

The Dark Knight Rises had big shoes to fill, given the commercial and critical success of its predecessor The Dark Knight. Thankfully Christopher Nolan’s film does not disappoint. From the very first scene, TDKR enthralls viewers. This is unrelenting, with the film absorbing viewers fully for its 164-minute duration.

Nolan’s direction is superb. Action sequences are thrilling, and the film moves along at a good pace. The third act in particular generates immense tension, with the climax a fantastic ending to both the film and the trilogy. There are moments in TDKR when it is difficult not to get swept away in the sheer exhilaration of it all.

Written by David S. Goyer, Christopher Nolan and Jonathan Nolan, The Dark Knight Rises perfectly balances bravura action with a meaty storyline. Characters get sufficient screen time, despite the abundance of them. New characters given depth, and appear authentic. The film features characters that have appeared in previous Batman films. TDKR offers different depictions of them that completely fit in Nolan’s universe. TDKR, like the previous two films, attempts the most realistic sphere for superhero movies. In keeping with this verisimilitude, themes that feature are very contemporary and resonant concerns.

Once again, Wally Pfister’s cinematography is wonderful. The film is really worth seeing in Imax; the footage filmed in this format is incredibly impressive. Hans Zimmer’s score is memorable, and the perfect accompaniment to the sublime on screen action.

Christian Bale offers a solid and completely believable performance, reprising his role as the caped crusader. Tom Hardy is barely recogniseable as Bane, while Anne Hathaway is excellently cast as Selina Kyle. Joseph Gordon-Levitt is also a highlight as police officer John Blake.

The Dark Knight Rises is a fitting end to a fantastic series of films. The film is impossible to fault. It is the perfect antithesis to the action-comedy romp of the Marvel films. Though this is most entertaining, The Dark Knight Rises is in a league of its own. At times dark, at times mesmerising, the film is wholly compelling.

5 Criticisms That Won’t Be Made of The Dark Knight Rises

The third trailer for The Dark Knight Rises was released earlier today. It made me think of the criticisms levelled at predecessor The Dark Knight, and Christopher Nolan’s last film Inception. Undoubtedly there will be one or two people who will level these barbs at TDKR just to go against the grain. Nevertheless, looking into my crystal ball, I predict that none of these will be valid criticisms of The Dark Knight Rises…

1. There Are Too Few Main Characters

A common criticism of The Dark Knight was that there were too many important characters vying for the spotlight. Bane and Selina Kyle are Batman’s adversaries in The Dark Knight Rises, plus there are new characters played by Joseph Gordon-Levitt and Marion Cotillard. So it is doubtful that TDKR will be accused of having too few main characters.

2. The Plot Is Too Straightforward And Simple

An extension of the first point; given the number of characters that feature, it is unlikely that viewers will complain that the plot is too elementary. Inception and The Dark Knight were considered as being complex or convoluted by some, so it is probable that The Dark Knight Rises will follow suit.

3. The Production Values Are Poor

From the three trailers that have been released, as well as the first scene screening, it is difficult to accuse The Dark Knight Rises of  being a poorly produced affair. The effects in the football stadium sequence look amazing from the trailer. Other criticisms may be well-founded, but it will be difficult to argue that TDKR does not look like a superlative blockbuster.

 4. The Score Lacks Grandeur

After his bombastic Inception score, composer Hans Zimmer returns for The Dark Knight Rises. Given the grandiose nature of his previous scores, it would be surprising if TDKR does not follow suit. The trailers at least indicates the score will rival that of its predecessor.

5. Gotham City Looks Like Croydon

The Dark Knight Rises was filmed in Croydon, as well as a number of over locations across the globe. So whilst some of the footage will actually have been filmed in Croydon, it is highly unlikely that Gotham will look like London’s, ahem, finest borough. New York with hints of Chicago, it is doubtful that Gotham will bear any relation to Croydon.

The Dark Knight Rises is released on 20th July 2012.