Category: Drama

The Girl on the Train

Rated: MA15+The Girl on the Train

Directed by: Tate Taylor

Screenplay by: Erin Cressida Wilson

Based on: ‘The Girl on the Train’ by Paula Hawkins

Starring: Emily Blunt, Rebecca Ferguson, Haley Bennett, Justin Theroux, Luke Evans, Allison Janney, Edgar Ramírez; Lisa Kudrow.

Alcoholism, restlessness; hurt – The Girl on the Train is a film about the possibilities, the capabilities of someone lost.

The focus of the film surrounds the mystery of the main character, Rachel Watson (Emily Blunt) watching the world go by through the window of a train.

Sure, Rachel’s got her problems: she drinks, she lies, she has blackouts, and she wants what she can’t have.  And the audience, watching the world with her, sympathise: her heart’s in the right place – right?

But the slow reveal of Rachel’s unravelling makes us wonder just what she’s capable of.

And there lies the mystery.  What is really happening here?  Just how lost is Rachel?

The Girl on the Train is a movie of perspectives.  Of what people see compared to what goes on behind closed doors.  This is a film about what’s revealed to the audience and when.  And I think the mystery was handled well by director Tate Taylor (who won a BAFTA Award for best adapted screenplay for, Help (2011)).

I’m just going to say it – I found the book a slow read.  So for once and a rarity for me to say, the condensing of the story into a movie length narrative made for a more dramatic reveal.  The film concentrated on the main thrust of the story, of Rachel, of her illness, about her blackouts; about what actually happened on that fateful day.

No one can say that Emily Blunt can’t act, and indeed, her acting kept The Girl on the Train firmly on track.  Blunt is phenomenal in Sicario (2015), one of my favourites and I recently re-watched Looper (2012) – another fantastic movie starring Blunt.  I like her authentic, down-to-earth style and think she’s fast becoming one of the greats.  And her performance here is to be commended.

Also to note was the performance of Haley Bennett as the saucy Megan Hipwell and Justin Theroux as Rachel’s ex, Tom Watson.

In conclusion, I have to say there’s no real punch here and I wasn’t on the edge-of-my-seat, but The Girl on the Train is an absorbing mystery, shown well.

Deepwater Horizon

Action/Drama           Rated: MDeepwater Horizon

Director: Peter Berg

Screenplay: Matthew Michael Carnahan and Matthew Sand

Screen Story: Matthew Sand

Starring: Mark Wahlberg, Kurt Russell, John Malkovich, Gina Rodriguez, Dylan O’Brien and Kate Hudson.

Based on the article written by David Barstow, David Rohde and Stephani Saul: ‘Deepwater Horizon’s Final Hours’, Deepwater Horizon is about one of the largest man-made disasters to have ever occurred.

Ultra-deep-water drilling off the coast of Louisiana, the rig suffered a massive blowout after pressure caused oil to explode up the pipeline.  The oil then caught fire destroying the rig.  The disaster killed 11 people and leaked 50,000 barrels of oil into the ocean for 87 days.

Deepwater Horizon is about putting the audience in the midst of the disaster, about pressure from the depths hard to fathom.  In fact, the whole scenario is difficult to get my head around because I’m not an engineer nor a deep sea drilling technician that understands drilling and pressure and the forces of rotting dinosaurs from a previous millennia.  And there isn’t a requirement to have this knowledge as the film shows the staff, doing what they do, without dumbing it down for the audience.

The story is shown in a way where you get it.  That the mud is used to contain the pressure of the oil, so that if it’s oozing up the pipes onto the rig, that’s a bad thing: the mud isn’t stopping the pressure.  And if that dial goes to a psi in the red area of the dial, that’s a very bad thing.

That’s what I liked about the film.  Being right there with the people working on this monstrous rig.

Mark Wahlberg as the Transocean chief electronics technician, Mike Williams, gives a great performance as an everyday guy doing his job.  And Kate Hudson as the wife waiting at home keeps the cheese to a minimum – it’s all about down-to-earth folk just dealing with it.

Wahlberg and director, Peter Berg, have worked together previously in the film, Lone Survivor.  Another survival story about making tough decisions. Berg doesn’t use cheap tricks to tug the heart strings, he just tells a tale with an authentic flavour and Wahlberg plays the no-nonsense hero well.  And the simplicity and straight forward telling of Deepwater Horizon gave the story more impact and power.  It was left to the audience to feel the emotion.

I love a good techy film and Deepwater Horizon filled the bill with great camera work to show the scale undertaken to drill into the depths of the ocean; and the explosion and visual spectacle of the disaster was totally believable on screen.

There was a glossing over of the politics of dealing with BP, but covered by the interaction between Donald Vidrine, the BP company man played by John Malkovich (he plays a villain just so well) and Kurt Russell as Mr. Jimmy who was the offshore installation manager.

Rather than the politics or emotional drama, Deepwater Horizon was more about the confrontation of the disaster itself.  And I liked that.

LIFE, ANIMATED

Rated: PGLIFE, ANIMATED

A documentary by: Roger Ross Williams

Editor: David Teague

Cinematographer: Tom Bergmann

Composer: Dylan Stark, T. Griffin

Original Animation: Mac Guff

Based on a book by: Ron Suskind

Starring: The Suskind Family: Owen, Cornelia, Walter and Ron.

LIFE, ANIMATION is a documentary based on a book written by Ron Suskind, father of Owen who at age 3 was diagnosed with autism.

This is a story about Owen’s journey from childhood, to his devastating withdrawal at age 3, to his diagnosis of the pervasive developmental disorder of autism, through to miraculously living on his own in assisted residential care. All due to the Suskind family’s persistence and recognition of Owen’s ability to communicate through his understanding of the exaggerated emotional cues shown in Disney films.

Owen’s father, Ron, has used his journalistic skill in portraying the difficulties of autism: the constant overstimulation (due to lack of filtering of the external environment), the loss of understanding of words and the determination to release him from his autism prison.

I can understand how this documentary, directed and produced by Roger Ross Williams (Music by Prudence; God Loves Uganda), has won so many audience awards: Telluride Mountainfilm Festival, San Francisco International Film Festival, Full Frame Film Festival and the list goes on…

Not only a remarkable insight into autism, I found myself constantly smiling.

The Suskinds are just such a loving, supportive family, that every triumph is experienced right there with them. And Owen himself is a genuinely lovely guy. It’s such a pleasure to see him open up and become a young man.

Yes, there are difficulties, and I shed a few tears through-out the film, because that’s life.

I could relate to Owen’s difficulties, the falls we all take. And I could admire his tenacity to keep getting up and keep fighting the good fight: the losing of his voice and then finding it again.

This is a heart-felt story that is shown so well by the directing. And the soundtrack is perfect: there to amplify the moments without becoming intrusive. What amazed me the most was the original animation created by Mac Guff to depict Owen’s own imagined stories.

I could sense the amount of time and care put into this film and I have to say, it has really paid off. The film is a seamless journey, shown with emotion that is real and made relatable to everyone.

I laughed, I cried, I smiled and I learnt something not only about Owen and his battle with autism, I also found an opportunity to reflect on my own life journey.

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SULLY

 

Director/Producer: Clint EastwoodSully

Screenwriter: Todd Komarnicki

Based on the book written by: Chesley “SULLY” Sullenberger, Jeffrey Zaslow.

Director of Photography: Tom Stern

Composers: Christian Jacob and The Tierney Sutton Band

Starring: Tom Hanks, Aaron Eckhart; Laura Linney.

“I’ve got 40 years in the air, but in the end I’m gonna be judged on 208 seconds.”

SULLY is the story of the ‘Miracle on the Hudson’, where pilot Captain Chesley ‘SULLY’ Sullenberger makes an emergency landing with 155 people on board onto the Hudson River in New York.

I remember hearing about the incident on the news back in 2009 and was amazed, along with the rest of the world, by the bravery of such a decision and the skill to actually land without a single soul lost.

But good deeds don’t go unpunished.

What I didn’t realise was the scrutiny Sully experienced by the National Transportation Safety Board (NTSB) and the nightmares and distress experienced by the pilot, Sully, and his co-pilot Jeff Skiles (Aaron Eckhart).

SULLY was a brilliantly cast film with the resemblance to the real-life crew unmistakable. The lead role, Captain Sullenberger, played by Hanks, called for a calm character who showed honesty and strength, which Hanks, of course, plays very well.

But like the character, the film was also dry and calm; the control held firmly in the hands of director Clint Eastwood.

As Hanks states, ‘Sometimes you read something that is so stirring and at the same time so simple, such a perfect blend of behaviour and procedure.’

The film focuses on the aftermath and the technicalities undertaken for the emergency landing. And there was such restraint used that even the dramatic event of the landing also had an overriding feeling of calm. So the film felt a little too even for my taste. Certainly, no-one can accuse Eastwood of over-dramatising!

There was also the element that we all know what’s coming; how it’s all going to end. It was more about the fleshing out of the story.

SULLY is an amazing story with great acting. I loved that the film makers recruited many of the people who were there that day to reenact what happened.

I just wasn’t blown away.

This is a story of a 40 year veteran who had seconds to make a life or death decision for 155 people. And he did his job. That’s the tone of the movie. A truthful re-telling without too many dramatics.

The story was played out with clever devices like dream sequences made real, personal perspectives from the passengers and flash-backs to build the suspense, but as stated before, we already know what’s going to happen!

If you’re interested in the story, this is a great film; if you’re looking for a lot of action, you’ll be disappointed.

I’m somewhere in-between: a solid movie but no real surprises.

Mountain Cry

Rated: MMountain Cry

Directed by: Larry Yang

Adapted Screenplay: Larry Yang

Music by: Nicolas Errèra

Cinematography by: Patrick Murguia

Starring: Yueting Lang, Ziyi Wang, Taishen Cheng, Ailei Yu, Jin Guo, Caigen Xu, Chendong Zhao; Siying Li.

Language: Chinese Mandarin

Subtitle Language: English

Based on: Lu Xun Literary Prize recipient novel of the same name written by Ge Shuiping.

Mountain Cry is a Chinese tale of a mute girl, Hong Xia (Yueting Lang), who moves to a remote rural village with her abusive husband, La Hong (Yu Ailei), and two children.

After her husband is killed by a detonation used in a badger trap set in the woods, a young villager, Han Chong (Ziyi Wang) is blamed for the accident.  The village council then forces Han to look after the young widow and her children until the debt is paid for killing her husband.

Mountain Cry has been beautifully adapted to the screen with director and screenwriter Larry Yang relating this amazing story of Chinese village life and the two main characters slowly falling in love.  But this film is so much more than a romance, there’s crime here and mystery.

The characters show more of themselves with each action, with each scene adding weight to the adage, show don’t tell.  There was such a gentle touch here with tragedy and longing, freedom given and taken away, responsibility and loyalty and love all revealed like leaves slowly falling.

When novels are adapted to the screen there can be the feeling of parts missing or the story being rushed or glossed over, but Mountain Cry was a complicated story given depth, revealed slowly allowing the audience to become absorbed by the mystery of Hong Xia’s life.  Not surprising that the film won Shanghai International Film Festival Media Award Best Director Award and Shanghai International Film Festival Media Award Best Scriptwriter Award.

Although set in 1984, there was a classic feel to the story: old fashioned tools used for farming, handmade paper and painted writing, and the echoing sound of voices and drums like the heartbeat of the vast mountains.

The scenery was captured beautifully by cinematographer, Patrick Murguia.  And the soundtrack a fitting accompaniment (Nicolas Errèra) to this classic Chinese tale.  But it was the characters who were the focus, and their relationships.

Although a tragedy, the story was lifted by the simple warmth of Han Chong and his ginger kitten, but you need a quiet mood for this one.  And I have to say the film was slow at times.  But by the end, I was completely absorbed and pleasantly surprised by the mystery and beauty of the story.

A slow reveal but well worth the journey.

https://www.youtube.com/watch?v=dVWcImqSilU

Sunset Song

 

Directed By: Terence DaviesSunset Song

Based on the novel written by: Lewis Grassic Gibbon

Starring: Agyness Deyn, Peter Mullan; Kevin Guthrie.

Set in the early 20th century, Sunset Song is a heart breaking film but as director Terence Davies states, a story that needs to be told.

Chris (Agyness Deyn) is a young girl growing up in the beautiful enduring and sometimes harsh Scottish country of the Aberdeenshire.

This is a place where beauty may not last but will be the more beautiful for it.  Where love may not last but the land will continue to endure.

The story centres around Chris and her life from family tragedy to marriage to the First World War.

Sunset Song is a love story but also a story of Scotland and the bittersweet nature of life.  There’s such cruelty yet such sweetness that feels lost in this modern age.  And to be reminded of the sacrifice of our Grandparents and all those who lost their lives during the war and broke their family’s heart is truly humbling: Lest We Forget.

I was immediately captured by the opening scene of Chris lying in the middle of a crop of wheat, hidden from view; the sun on her face.  I used to do the same thing but amongst the green stalks of canola.  Being hidden from everything and everyone except the sky.

I loved the simplicity of this film.  The soundtrack mostly the characters themselves singing.

A close friend of Chris narrates the story, describing the poetry of Chris’ life.  The lightness of the words used to balance the harsh reality sometimes endured.  And that’s the main theme here – the endurance of the characters like the endurance of the Scottish landscape.  The camera work showing the rolling green hills, the rain, mud and filtered sunlight another character of this classic Scottish story.

Plenty of space and quiet was allowed into the film.  Personally, some of the scenes could have been cut or shortened.  But that’s just my mile-a-minute modern city brain.  The film slows the mind to grasp the sweetness, the tragedy; cruelty and humility.

I wondered at the use of nudity in the film, somewhat jarring in the context of modesty, but then there was also length given to the cruelty, the light from the church window and the sermon given, to the poetry and the singing – all given in equal measure, all giving weight to the film.  This is a modern understanding of a classic story to the heart of remembering and never forgetting.

So easy to get carried away with such an emotive story.  I find war films difficult because it’s too close; too real.  The times where child birth could so easily kill the mother, the times so easily forgotten.  But Sunset Song is beautiful film and well worth watching.

Bring your tissues, lasses, and lads, bring your heart.

War Dogs

 

Director: Todd Phillips

Writers (screenplay): Stephen Chin, Todd Phillips; Jason Smilovic

Based on an article written by Guy Lawson, “Arms and the Dudes” published in Rolling Stone (2011)

Starring: Miles Tellers, Jonah Hill, Ana de Armas; Bradley Cooper.

When does telling the truth ever help anybody?  Is the title of a chapter in War Dogs.  Ironic in that the film is based on the true story written by Guy Lawson: a fascinating exposé about two 20-something year-old’s who put together what is now known as the Afghanistan arms deal worth $300 million dollars.

But War Dogs isn’t an action-packed war movie, this incredible story is about two mates seeing an opportunity and taking it.

It’s not about war, it’s about making money.

Combining this have-to-see-to-believe story with a great soundtrack (I’m talking golden oldies such as Creedence Clearwater), director Todd Phillips has brought to life the two characters, David Packouz (Miles Teller) and Efraim Diveroli (Jonah Hill): The laugh Jonah Hill gives his character Efraim is unforgettable.

And I just had to laugh at the balls of these kids.  You can’t make this stuff up.  What a story and well worth reading the article originally published in Rolling Stone back in 2011: Arms and the Dudes.

I saw a recent interview on The Tonight Show with Jimmy Fallon where Jonah talks about War Dogs and the need for a daily slathering of fake tan because he was allergic to the stuff.  Combined with the laugh and standout performance from Jonah, Efraim was the highlight of the film for me. And then there’s the legendary Henry played by Bradley Cooper: an arms dealer who was said to have sourced the rope to hang Saddam Hussein after he was convicted of crimes against humanity.

These guys are the bottom feeders, where War Dogs are those who make money out of the misery of war without ever seeing combat.

This is a film to get people talking, to shake at the incredulous cunning and open for business policy of the American Government.  And I congratulate director Todd Phillips for getting the feel just right.

The film is shown as a series of chapters, a telling example entitled: I love Dick Cheney’s American War.  And reminiscent of, The Hangover trilogy, the voice-over narrative of Miles Teller as David Packouz gives the story a personal touch.

The freeze mid-action gives the audience a chance to absorb the craziness where if someone were to tell you this story, it would be too far out there to be believed: The American government posting arms contracts to the general public for 20 year-old’s to bid on and win?

Making such an incredible story believable with fantastic acting (Jonah Hill, what a legend) and thought put into the pacing of the film, gives War Dogs a winning quality.

Whether the truth of the story will help anyone is a statement worth discussion, but War Dogs is certainly entertaining and thought-provoking.

Bad Moms

MA15+Bad Moms

Directors: Jon Lucas; Scott Moore

Writers: Jon Lucas; Scott Moore

Starring: Mila Kunis, Kathryn Haln, Kristen Bell, Christina Applegate, Jada Pinkett Smith, Annie Mumolo, Oona Laurence, Emjay Anthony, David Walton, Clark Duke; Jay Hernandez.

I just had a Bad Mom moment.  Leaving my notebook in the cinema.  And not realising until I started drinking a glass of red wine and then fluffing in my handbag, looking for it.  That’s about the extent I related to Bad Moms.  The sense of panic.  The humiliation if someone had started reading my scribbly notes.  Like someone else finding your child and having to pick them up from a stranger…  Jeez, it’s like pulling teeth.

If you’re not a mother, relating to Bad Moms is difficult.

Ami (Mila Kunis) is trapped in a world of kids, work, looking after her infantile husband, PTA meetings and everything that life can throw at you.  When she finally gets knocked unconscious at her kid’s soccer match, to then be late (again) to the PTA meeting, and then be volunteered by everything-must-be-perfect super mom, Gwendolyn (Christina Applegate), to be the ingredients police at the upcoming bake sale, it’s enough.

Ami decides she’s sick of trying to be the perfect mom.

Now, along with fellow mothers, Carla (Kathryn Haln) and Kiki (Kristen Bell), she decides it’s time to be… A Bad Mom.

Thank goodness for the comic relief of Kiki and her cheeky, loud-mouth antics.  It wasn’t that the acting was bad, there just wasn’t enough comic relief.

I had an expectation of many laugh-out-loud moments, and there were a few, but coming from Jon Lucas and Scott Moore as the writers and directors (the guys who co-wrote The Hangover I and Wedding Crashers) I expected there to be wider appeal.

I hear stories from my sisters and I can see how much pressure parents are under these days.  Women have to work and keep: home, family, kids and society in general happy.  Our mothers have worked hard for equal rights and now there’s this need to be able to do it all.  Perfectly.  I get that.  And Bad Moms is a surprisingly insightful film.

Watching the girls getting into it because they’re sick of having to be perfect was a lot of fun. But to me?  These girls needed sleep.  For a week.  So unlike The Hangover and The Wedding Crashers, I found this movie painful, and not in a funny way.

I can see a group of mums going to Bad Moms, to escape the house and kids for a couple of hours with glass of wine in hand and the relief that they’re not the only ones feeling the pressure of motherhood.  And I congratulate Bad Moms on shining a spotlight on what a modern-day mother has to go through.  But as a film, Bad Moms is made for a select audience.

Sing Street

Director: John CarneySing Street

Writer: John Carney

Starring: Ferdia Walsh-Peelo, Aidan Gillen, Maria Doyle Kennedy, Jack Reynor, Lucy Boynton, Kelly Thornton, Ben Carolan, Mark McKenna, Percy Chamburuka, Conor Hamilton, Karl Rice; Ian Kenny.

Whether it was the Irish accent, the characters or the 80s music (had a buddy with me who couldn’t help but sing along), Sing Street was a winner for me. 

I enjoyed director, John Carney’s previous film, Begin Again (2013) and the way music was incorporated into the story of Sing Street was very similar: a stylised act used sparingly so it didn’t feel like a musical, just a film with a lot of music.  

And Sing Street had grit.  This is Ireland in the 1980s: lack of jobs and money, where alcoholism is rife and anyone who can escape to London is jumping on that ferry.

For those left.  It’s just a dream.

Conor Lalor’s (Ferdi Walsh-Peelo) parents are skint.  Money pressures lead to fighting, to tightening the belt.  Money has to be saved somewhere.  So Conor is transferred to the catholic school run by the Brothers featuring kids running amok.

Black-eyed and bullied, Conor meets the girl of his dreams, Raphina (Lucy Bonton).  A model, no less.  Showing courage, or just the power of teenage hormones, he invites Raphina to feature in a music video for his band.

She says, ‘Yeah maybe’.

Problem is, he doesn’t have a band.

This is a kid with a serious crush.  So he goes about putting together a band (Sing Street), the introduction of fellow band members and his brother, Brendan Lalor encouraging Conor, AKA, Cosmo, maps out the story of the film.  With 80s music featured, of course.

I’m talking boys with make-up and music from The Clash, The Cure, Duran Duran and many of the original tracks performed by Sing Street composed by Gary Clark (of the Northern Irish band, Relish) with John Carney able to take credit for co-writing a lot of the songs.  So that’s credit for directing, writing the script and writing songs?  That’s impressive. 

Also, this is an extremely hard film to make without becoming saccharine.  Thankfully, there was more meat to the story of boy has crush on girl out of reach, so I’ll put together a band and then she’ll love me.  This is film about escape from and the acceptance of all life can throw at you.  To plow through whatever the arguments, bullying and crap and to get on with it and create something else.  To feel something else.

It takes courage to reach.

I believed the shy Cosmo with his blushing cheeks, overcoming fear to reach for those stars.  And his muse, Raphina, could have been just a pretty yet annoying character, but she had class and philosophy – ‘That’s what love is Cosmo,’ she says.  ‘Happy-sad’.

Look, musicals aren’t really my thing – Glee?  Forget it!  But the way the music was incorporated into Sing Street was seamless.  And the tongue-in-cheek humour helped a lot, giving those few forgivable cheesy moments just the right touch to feel authentic.

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https://www.youtube.com/watch?v=C_YqJ_aimkM

 

 

Everybody Wants Some!!

Director/Writer: Richard LinklaterEverybody Wants Some!!

Starring: Blake Jenner, Juston Street, Ryan Guzman, Tyler Hoechlin, Wyatt Russell, Glen Powell, Temple Baker, J. Quinton Johnson, Will Brittain, Zoey Deutch, Austin Amelio, Tanner Kalina, Forrest Vickery.

As suggested by the title (a classic by Van Halen), Everybody Wants Some!! is a tribute to the ‘80s era (and yes, they all really do want some).

Ah, the ‘80s – how far we’ve come from: pooh brown pants with tight shirts tucked in, the mighty mustache – the mighty mosh out in all its glory; tape decks and punk rock, smoking where-ever, pin ball machines and table tennis.

The film had a lot of fun with the college setting in the 1980s. But Everybody Wants Some!! was also about freshmen settling into college life with all the girls and parties and lessons to be learned.

Set at the start of term, freshman Jake (Blake Jenner) arrives at a house where the ceiling is about to collapse because the guys are filling up a water bed for better bedroom experience with the ladies – the frat house for the college baseball team.

Following Jake and the other freshmen settling in over the 3 day lead-up to the beginning of classes, it’s party time, where the focus is finding a girl while sizing up the rest of the guys in the baseball team.

The guys are happily physical with each other; a natural competitiveness comes to light with each personality rising to the surface as the days and parties continue.

And the film evolves into an interesting story of guys facing the challenge of growing into themselves, and how friendships develop through the ability to appreciate difference; to be able to fight, get over it and grow.

There were some fascinating perspectives discussed while taking hits from a bong.

And I enjoyed the baseball!

I’m really not a sports fan, so I was surprised how much I liked seeing the characters play.

The baseball wasn’t a feature until later in the film and this was clever as it showed a more serious side to the characters: this wasn’t about sizing each other up and challenging, this was about working together as a team.  Bullshit just doesn’t cut it because this is about their future.  Something to be taken seriously.

So yes, there was loads of testosterone and girls in skimpy outfits.  But there was also an honesty and sincerity here.

Richard Linklater also wrote the 1993 film Dazed and Confused (the predecessor to this one).  I was far younger when I watched Dazed and Confused, and I loved the cheekiness of it, the fun.

Everybody Wants Some!! although still relational, had a greater intellectual aspect.  This is a step up from High School.  This is College.

These aren’t just idiot jocks out for a root (well, not all the time), there’s also a seeking, a challenge in these characters.  And it was good to see guys just being guys.

At the start of the film, I would have to say the humour was aimed at a younger audience, as was the message: more your teen to 20s, perhaps.  But I enjoyed the film more as it progressed.

An entertaining winter warmer loaded with testosterone developing into a film with a surprising amount of depth.

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