Award Season Update - Just - In from the Festivals!

Can you hear that, folks? That’s the sound of Oscar buzz! Yes, it may only be September and the ceremony doesn’t take place until early next year, but the festival circuit has given us an insight as to what the nominations may look like…

Leading the pack is Damien Chazelle’s sophomore picture La La Land, the writer/director’s follow up to his 2014 critical smash Whiplash. Starring Ryan Gosling and Emma Stone as Sebastian and Mia, an aspiring musician and actress respectively, who attempt to navigate the choppy waters of Hollywood and their budding romance simultaneously. A musical of seemingly large nostalgic proportions, critics have been wowed and wooed by the charming musical numbers, particularly the film’s opening sequence that shows L.A traffic grinded to a halt which quickly turns into an all-singing, all-dancing fest. Expect La La Land to be the front runner of the awards race, and prepare yourself for a toe-tapping good time.

Whilst La La Land is proving to arguably the biggest hit amongst critics, Amy Adams has dominated conversation in terms of acting performances. Starring in Tom Ford’s seductive thriller Nocturnal Animals and Denis Villeneuve’s intelligent sci-fi Arrival, 2016 seems to be the year where Adams will finally be rewarded for her unfaltering and immense talent. However, she faces stiff competition from fellow red-head Emma Stone in La La Land and Rooney Mara in Una, a film that left audiences rattled but in agreement of Mara’s towering performance. Having been nominated at the Academy Awards five times previously without a win, the golden statuette should surely be within Adams’ grasp.

Hollywood may love giving awards to talent that is long overdue (a la Leonardo DiCaprio), but do you know what they love more? A comeback story. This has been demonstrated many a time, such as Matthew McConaughey’s “McConaissence” that subsequently lead to his win for Dallas Buyers Club and Michael Keaton’s return to glory with Birdman. Mel Gibson’s war drama Hacksaw Ridge made its debut at Venice – but how forgiving can Hollywood be in regards to Gibson’s misogynistic and anti-semitic tirades a few years ago? Can he redeem himself? Thus far, it seems he can as Hacksaw Ridge reportedly received a ten-minute standing ovation from a crowd of critics. Only time can tell as to whether this acclaim will continue and result in triumphs come award season, and whether Gibson can be welcomed back into the Hollywood fold.

Hacksaw Ridge may be a question mark for awards contention, but features such as Manchester By The Sea and Sully are sure to garner some recognition. Starring Casey Affleck and Michelle Williams in a supporting role, critics and audiences alike have been floored by the wrought, emotional drama Manchester By The Sea when it premiered at Sundance earlier this year. With incredibly positive word-of-mouth, it’s a sure bet for awards consideration. With regards to Sully, the feature already has considerable momentum – Clint Eastwood at the helm, Tom Hanks taking the titular role…it’s got “gunning for gold” written all over.

Although there are a plethora of upcoming films that have the potential for awards, the aforementioned contenders above have made the biggest impact on the festical scene. Let the battle for gold commence!

'10 Cloverfield Lane' - Review

Director: Dan Trachtenberg
Cast: Mary Elizabeth Winstead, John Goodman, John Gallagher Jr.
Release Date: March 2016

10 Cloverfield Lane is the film no one saw coming or even knew existed until about a month or two before its release, as the infamously secretive J. J. Abrams and his production company Bad Robot kept the project firmly under wraps. Arguably, it's also a film that no one asked for as its predecessor, Cloverfield, was hardly a blockbuster hit. However, this carefully shrouded film is the surprise hit of the year.

The film follows Michelle (Mary Elizabeth Winstead) who has recently been detained in an underground bunker with two men (John Goodman and John Gallagher Jr.) after a serious car accident. One of the men, Howard (Goodman), insists the air outside of the bunker has left the world uninhabitable - but can he be trusted?

The success of the film largely relies on the success of these two elements; the audience's determination for the survival and safety of our heroine and the believability of the danger that she could possibly face. Thankfully, these two targets are hit with a bullseye. The former point is achieved through the strength of the performance given by Mary Elizabeth Winstead as Michelle. In a time where audiences are crying out for fully realised and developed female characters (rightfully so), Winstead and the team behind 10 Cloverfield Lane provide us with a shining example. Michelle is smart and extremely resourceful and never once ventures into damsel territory. Often when you're watching a horror/thriller, you find yourself screaming at the silver screen, either berating the "hero" for making idiotic decisions or offering your own solutions to their dilemmas - in both instances, you're left disgruntled as the protagonist doesn't take the smart course of action. This is not the case in 10 Cloverfield Lane as Michelle is always effectively formulating and demonstrating just how intelligent and active she is. Goodman and Gallagher Jr. both also provide strong performances, most notably Goodman as the socially disengaged Howard, who leaves you questioning his motives through almost the entire film.

Comparisons have been made between 10 Cloverfield Lane and the films of Alfred Hitchcock, and the parallels are certainly there. Despite the minimalistic location and relatively small scope of the piece, director Dan Trachtenberg amplifies the suspense and tension to such a palpable degree, where at times I watched events unfolding through gritted teeth and my hands obscuring my eyes.

It's not until approximately 15 minutes before the film ends that any flaws are noticeable, and that can be attributed to the shift in genre. 10 Cloverfield Lane reverts back to the science-fiction/supernatural genre that was the basis of Cloverfield and ultimately spawned this film. Although, the psychological thriller aspect that preceded the final 15 minutes was significantly more entertaining.

Overall, 10 Cloverfield Lane is one of the most gripping and arresting films of the year and is bound to keep even the most laid-back of cinema - goers on the edge of their seat.

'Hail, Caesar!' - Review

Director: Joel and Ethan Coen
Cast: Josh Brolin, George Clooney, Scarlett Johansson, Channing Tatum, Ralph Fiennes, Tilda Swinton, Jonah Hill, Frances McDormand, Alden Ehrenreich.
Release Date: February 2016

After viewing the first trailer for Hail, Caesar! back in 2015, the Coen brothers latest creation was quickly affirmed as one of my most highly anticipated films of 2016. Now I've watched the film? I regret allowing myself to become so excited.

Hail, Caesar!, although fictional, follows the real life 1950s Hollywood "fixer" Eddie Mannix (Brolin) who attempts to uncover the mystery of the vanishing movie star (Clooney) whilst trying to maintain the image of several other performers.

With such an amazing filmography under their belts, including No Country for Old Men and Fargo, Hail, Caesar! unfortunately is a limp edition to their impressive resume. The film's premise is so promising; a comedy mystery where a studio Hollywood adviser has to enlist the help of film stars to recover one of their own after they go missing. On top of that, it's written and directed by arguably the most talented duo in the industry - what's not to like? Unfortunately, quite a bit. The mystery is revealed to the audience very early on and the characters that I expected to help propel the narrative forward hold no relevance to the story at all.

However, whilst some of the cast are given surprisingly little to do, every actor is fantastic and play to their strengths. Johansson is both alluring and comedic as Dee Anna Moran, an unruly actress with a reputation to protect. George Clooney continues to be the Coen's first call whenever they have a simple character on their hands, but he still manages to exude his starry persona. Tatum's dance sequence as the light-footed Burt Gurney is a joy to behold and Tatum delivers it with irresistible charm. If that isn't enough big name talent, Jonah Hill and Frances McDormand also add their flourish to proceedings. Although, their roles are extremely unsubstantial and they deliver approximately six lines between them.

Aesthetically, the film is very pleasing and you'll find yourself wishing you could be transported to 1950s L.A. As aforementioned, Tatum's tap-dancing sequence is captivating, as is Johansson's aquatic  number. These magnificent set pieces are without a doubt the film's highlight, but they don't make up for the picture's shortcomings.

In regards to Tatum's character Burt Gurney, there is an unappealing twist that reveals his true nature and motivation. The twist is cheesy and regrettably unfunny; the Coens have proved many-a-time that they can find humour in even the bleakest or unconventional of situations, but in this instance -- they fail.

Overall, Hail, Caesar! is a film bursting with the potential to be great, but the potential never comes to fruition and is suitable viewing for only the diehard Coen brothers fans.

'Deadpool' - Review

Director: Tim Miller
Cast: Ryan Reynolds, Morena Baccarin, Ed Skrein, T.J Miller, Gina Carano.
Release Date (UK): February 10

Unless you've been living under a rock, Fox's Deadpool is on everyone's radar due to the film's amazing marketing campaign (arguably the best and most effective ever). Thankfully, the film lives up to all of the hype and positive expectation as it is thoroughly entertaining from start to finish.

Deadpool sees mercenary Wade Wilson (Ryan Reynolds) meet and fall in love with Vanessa Carlysle (Morena Baccarin) at a local bar. However, after collapsing, he is diagnosed with terminal cancer and distances himself from Vanessa to protect her. Wade is approached by a recruiter from a top-secret program who offers him an experimental cure for his cancer; the results leave him with a scarred and disfigured physical appearance but with the ability to self-heal, and Wade goes off on a violence fueled search for the man (Ajax, played by Ed Skrein) who triggered the transformation.

The creative team behind Deadpool deliver exactly what they had promised plus much more and have truly made a film for the fans as many were left disappointed with the treatment of the Merc with the Mouth in X-Men Origins: Wolverine. The essence of Deadpool is captured perfectly within the film; it's rude, crude, hilarious, violent and packed with action - also, when you take into account the film's budget of $60 million (half of what most superhero flicks are given), the quality and high standard achieved is even more impressive.

Ryan Reynolds has discussed extensively the rocky road and 11 year process of getting Deadpool made and his abundant passion for the project is all there in his performance. Reynolds embodies the persona of Deadpool like a second skin and proves that he was born to play the role. Morena Baccarin is equally impressive as Vanessa, the girlfriend of Wade Wilson, and the chemistry between the two characters is palpable; Vanessa is the perfect match for the erratic and wise-cracking Wade. However, every character Reynolds as Deadpool interacts with on screen is the perfect enabler of comedy, particularly T.J Miller's Weasel, Wade's best friend, whose presence is guaranteed to make you laugh and his rapport with Wade is something special. Ed Skrein does a fine job as Ajax (AKA Francis), Deadpool's nemesis, although arguably he doesn't bring anything new or original to the landscape of villains produced by the superhero genre.

Due to the fierce commitment of each and every actor, the vast majority of jokes lands and therefore the film is funnier than most straight comedies. The references to other Marvel properties (primarily the X-Men franchise) are laced expertly throughout, allowing the audience to feel that Deadpool co-exists with other mutants (Colossus and Negasonic Teenage Warhead feature within the narrative, who are fellow mutants residing at Professor X's mansion) but also beholds his own unique tone and story within the universe. Although the tone is predominantly comedic, the film maintains a lot of heart, as at its core, it is a love story masked by violence-fueled revenge and endless one liners.

The film particularly excels during its action sequences which are phenomenally handled and are extremely visceral and graphic. The stunts are incredible and Deadpool's flips and mid-air twists are hypnotic - you could watch them for hours on end. Although, because the action scenes are so thrilling, the flashbacks where Deadpool's origin is explored are less compelling in comparison, leaving you itching to return to the more exhilarating aspects the film has to offer.

Overall, Deadpool is one of the most unique superhero films to come along in years and its astounding success is sure to pave the way for other films of the genre and enable them to take greater risks and skew a slightly more mature audience.

'Spotlight' - Review

Director: Tom McCarthy
Cast: Mark Ruffalo, Michael Keaton, Rachel McAdams, Liev Schreiber, John Slattery, Stanley Tucci.
Release Date (UK): January 29

Despite not having a single explosion or heavily choreographed fight sequence, Spotlight proves to be equally thrilling to any action film you may have seen this past year.

Spotlight follows The Boston Globe's investigative unit (called Spotlight) as they attempt to delve into and gather information about the cases of widespread child sex abuse in Boston by numerous Roman Catholic Priests. However, the team are unprepared for what their investigating reveals as they are made aware of the severity of the situation.

Many films claim to have an ensemble cast, but Spotlight can truth
fully boast one - and the cast they have assembled is phenomenal. Every single performance blends seamlessly together and ultimately creates the sense of collaboration and teamwork that the team Spotlight affects. Whilst Keaton is authoritative as the leader of the coverage and McAdams is personable as the team's sole female reporter, Mark Ruffalo arguably gives the standout performance. Ruffalo clearly makes some strong and definitive character choices that feel noticeably absent from the other actors performances and he once again proves he is one of the most consistent and reliable talents in Hollywood. The film also resists the temptation to explore each individual character's personal life and keeps the focus solely on the investigation. However, further credit goes to the actors as the audience still feel fully connected to the characters despite knowing so little about them.

This feeling of attachment is also attributed to the writing, as the character and story development is expertly crafted. Initially, Spotlight are reluctant to investigate the scandal and we witness them go through the motions of reporting as they would do any other case. However, as the investigation continues, each member of the team becomes emotionally involved to such a degree that it affects their personal life and views on the Catholic Church.

As previously mentioned, McCarthy keeps the focus and attention narrowed, with the emphasis clearly placed on the victims of the abuse. Spotlight doesn't have the characters pump their fists into the air or indulge in jubilation when they uncover information crucial to their search, and they don't receive pats on the back from their superiors. Although the achievements made by the Spotlight team were incredible, the team are never glorified or viewed as heroes; but they provide those who have had their voices squashed an opportunity to speak out. The film's ending is also fitting and appropriate as it begins to show the aftermath of Spotlight's reporting, but it also hints that their work is far from over.

Unsurprisingly, Spotlight is a serious contender in this year's awards race and rightfully so as it is arguably one of the most important films of the past few years.

'Tangerine' - Review

Director: Sean S. Baker
Cast: Kitana Kiki Rodriguez, Mya Taylor, Karren Karaguilan, Mickey O'Hagan, James Ransone.

Tangerine hasn't been given a wide release in cinemas, so chances of finding it in your local cinema are slim. However, I urge you to try and watch it in any way you can as it is simply a joy to behold.

The film's opening line "Merry Christmas Eve, bitch!" perfectly encapsulates the tone and humour for the rest of the picture, as Sin - Dee Rella, a transgender prostitute recently released from prison, is informed by her best friend Alexandra that her pimp boyfriend has cheated on her. Sin - Dee then proceeds to strut around the streets of L.A in search of answers whilst Alexandra attempts to attract a crowd to her showcase.

The charm and likability of Tangerine can largely be attributed to the performance of the cast. Consisting of relative resulted in the absence of preconceptions; every actor gave an incredible performance and played their roles with realistic and uncontrived humour and surprising emotional notes. Rodriguez is hilarious as the recently released from prison and vengeful Sin - Dee and Taylor is wholly personable and understated as her level-headed best friend. Their partnership on screen feels incredibly authentic and their rapport is dynamic to watch.

It's no secret that Hollywood has a problem embracing diversity, but Tangerine wholeheartedly celebrates it. Director Sean S. Baker takes a completely non-judgmental approach to the narrative surrounding the transgender and sex-worker community and therefore allows the audience to become oblivious to the social conditions of the characters and become engrossed and engaged with them.

The writer/director also captures the city of L.A in a way previously unseen before on screen. The conceptions of L.A being superficial and stylistic are eradicated as the genuine connection between Sin - Dee and Alexandra gives the city some much needed heart. Additionally, the city almost becomes a character in its own right as it facilitates the legitimate characters behaviour and allows them to be whoever they want to be.

Overall, Tangerine is a film filled with electric energy and originality. The fact that the film was shot entirely on an iPhone was an inspired choice and says to aspiring filmmakers everywhere that a strong vision and desire to tell stories is all they need.

'The Big Short' - Review

Director: Adam McKay
Cast: Christian Bale, Steve Carell, Ryan Gosling, Brad Pitt
Release Date (UK): January 22

Although a film about the housing market and economic bubble may not sound like the most exhilarating of viewings, McKay's direction and the razor sharp cast prevent The Big Short from diminishing its appeal.

The Big Short depicts Dr. Michael Burry (Bale), Mark Baum (Carell), Jared Vennett (Gosling) and Ben Rickert (Pitt), four experiences professionals in the finance industry who pre-meditate the collapse of the housing market years before the financial crisis of 2007/2008. As they delve deeper into the world of modern banking, their startling revelations lead them to question the entire system and question everyone they encounter.

The film is based on the book of the same name by Michael Lewis, and af
ter watching the film you can only assume that adapting the material for the big screen must have been a mammoth task. The writing and dialogue exchanged between the characters is fired fast and requires and audience's full attention. It's evident that McKay and co-writer Charles Randolph not only respected the source material but also the gravity and importance of the subject matter and it is most certainly reflected in the screenplay. For all the reverence that the film is treated with, McKay still includes inventive and original ways to bring levity to the material - most notably with the use of celebrity cameos. Through Gosling's character's narration, McKay throws over to celebrities including Margot Robbie to explain to the audience financial concepts, allowing us to process the flurry of information we have been confronted with and indulge in the humour.

Whilst the celebrity features are designed to help the audience understand and keep on track with the narrative, the financial jargon is extremely complex and specialised and often left me feeling bewildered and confused. Terms such as subprime loans and CDOs (collateralised debt obligations) made little sense to me and I was itching to reach for the nearest Google search bar. Those who are familiar with the subject matter or financial world in general will thrive in the environment created by McKay whereas those who aren't may often find themselves struggling to keep their head above water. In spite of this, the film's energy ensures that the stakes still feel incredibly high and there are surprising and unexpected emotional notes.

Despite the serious and complicated issues raised in The Big Short, plenty of laughs are to be had (unsurprising, given that this is an Adam McKay film). However, the humour never feels forced or synthetic and it is weaved completely naturally into the film's tapestry. A large part of the joy and entertainment value of watching this film has to be attributed to the cast; it truly is an ensemble and everybody delivers. Carell arguably conveys the most effective and interesting character as he plays a man who is in the corrupt business of banking but clearly feels the responsibility to set the world to rights, all the while struggling to overcome issues in his personal life.

Overall, The Big Short is funny, informative and tragic all in equal measure and will keep you gripped from the get-go. However, as soon as the lights go up in the cinema, you will most likely hurry home to clarify and gather as much information about what you have just watched as you can.