Man of Steel

"People are afraid of what they don't understand."

Across an ocean of stars, a planet named Krypton faces extinction.  In a final act of desperation and hope, a newborn boy is sent from it to seek refuge on Earth, where he grows up as Clark Kent.  Forbidden from betraying his true self, he finds himself torn between two worlds as vengeful forces pursue him.

Man of Steel is a new, modernised take on the story of the first and most iconic superhero, told with staggering scope and rich stylistic detail.  The film is at once a heightened science-fiction, with the opening sequences set on a far away apocalyptic planet among the stars; and is yet authentically realistic, with the plot subsequently grounded in an identifiable contemporary society.  The extraordinary is practically rationalised and accounted for throughout the narrative; allowing a previously untouchable hero to feel both authentic and relevant.  The non-linear narrative also allows the film to subvert many of the genre's cliches.  The stunning effects and cinematography are set to a subtle yet powerful score by Hans Zimmer; producing a most epic tone to the film.

Henry Cavill is divine as Clark Kent.  He plays the role perfectly, with hopeful blue eyes that betray the loneliness and depth of responsibility that hangs over him.  Just as the plot is conflicted between the agendas of two worlds, so is Clark torn between his inexplicable ties to humanity and his extraordinary heritage.  Amy Adams also delivers a strong and beautiful Lois Lane, driven by courage and curiosity.

The film poses the dangerous consequences of the denial and acceptance of identity, as the protagonist struggles with secrecy.  In particular, it delves into the implications that would be had upon modern society's perception of reality.  This is intricately linked with the theme of choice, and the deadly tension between a dictated destiny and free-will.   The villain of the plot subsequently poses an intense and intriguing threat, due to the justification behind his decisions.

Man of Steel is stunning and epic: the perfect blend of heightened science-fiction and realistic contemporary relevance.  The film ends on the most perfect note; teasing and creating great anticipation for the next chapter.

Stars of the Second Hobbit Film Tribute Fans

The first trailer for The Hobbit: The Desolation of Smaug was released yesterday, gathering over a million and a half hits in the first twenty-four hours.  A cascade of reaction videos have followed, including this particular one in which fans of the forthcoming film capture their pure excitement.  Catching sight of it, Peter Jackson has treated his elven cast - Orlando Bloom, Lee Pace and Evangeline Lilly - to the video, capturing their reaction in turn!  This gracious gesture to two strangers is a unique moment, producing a precious bridge between the film and fans.

Oz the Great and Powerful

"Nothing's impossible."

Oscar (James Franco) is a carnival magician, a self-proclaimed conman, who finds himself caught in a tornado and swept to a bright and enchanting world named Oz.  But Oz is haunted by a dark and dangerous witch, and the faux wizard is drawn into an elaborate act of deception.

Opening with beautiful titles and a monochrome sequence, Oz the Great and Powerful is a delicious fusion of classic and contemporary with lovely nostalgic touches to the 1939 classic The Wizard of Oz.  Sam Raimi's new vision of Oz is Wonderland-esque, with bright flowers, top hats and tea cups.  Set to an enchanting Danny Elfman score, the film also features a selection of beautiful costumes: a blend of late-victorian, fairy tale and contemporary style.

The film's prominent theme is illusion and the power to deceive, whether antagonistically or heroically.   This is personified by the 'wizard', whose existence thrives on his charm and deception.  However, the cast's performances balance precariously in a curious stasis between juvenile and maturity.  They contest with adult themes of seduction, yet prominently deliver childlike reactions to situations; as though ever so slightly uncertain as to who their audience exactly is.

With lovely allusions to the original film, Oz the Great and Powerful is a good prequel to The Wizard of Oz; but does not entirely capture the timeless enchantment of the original classic.

Iron Man III

"Heroes? There is no such thing."

The past creeps up on Tony Stark (Robert Downey Jr.), a la Iron Man, as he returns to reality following  the Avengers Assemble and is confronted by a dangerous terrorist intent on tormenting the United States.

Robert Downey Jr. thrives as Tony Stark.  He perfectly captures the trauma that Tony is haunted with following the extravagent events of the Avengers, who are suddenly and curiously absent throughout this third chapter.  The film subsequently places greater emphasis on the man opposed to the hero, with Tony spending considerable more time out of his suit than in his preceding films; exposing a previously unseen vulnerability to the hero.  This allows the plot to channel an exploration of the relationship between man and technology in the twenty-first century.

The plot is further strewn with contemporary themes of terrorism, with Ben Kingsley delivering a great performance as the threatening and allusive terrorist known as 'The Mandarin'.  There is also a brilliantly hilarious twist to the plot, moments of absolutely stunning cinematography and a great repartee between Tony and Harley, a boy that he indadvertedly befriends.  However, the resolution and final sequences of the film fell short and were frustrating; lacking emotional resonance or plausibility.

Robert Downey Jr.'s natural affinity with Stark and the moments of divine cinematography carry the film smoothly, but the too easy conclusion to the final action sequences felt disappointing.

The Great Gatsby

"So we beat on, boats against the current, borne back ceaselessly into the past."

New York in the glitzy 1920s is intoxicated by decadence and glamour.  The mysterious and allusive Gatsby (Leonardo DiCaprio) throws the most amazing parties, but his heart is desperately ensured by the beautiful woman across the water whom he once lost.

F. Scott Fitzgerald's classic novel of desire and deception is bought to life in a cascade of pearls and sequins.  The production design and costumes are absolutely gorgeous, as the filmmakers draw upon the exquisitely fine details of the novel.  Leonardo DiCaprio steals the film in a flawless performance as Jay Gatsby, perfectly capturing the depths underlying his character.  He presents an intriguing and engaging character who is driven by hope and absolute idealisation.

The artistic direction and editing of the film though felt at times somewhat flawed.  Sequences felt hasty as Baz Luhrmann's shots cavort.  However, while this worked to a stylish effect in Moulin Rouge, it felt slightly ill-suited to a story as classic and sophisticated as The Great Gatsby.  The deliberate use of 3D, particularly during the title sequence, felt unnecessary and at times undesirable; tarnishing the otherwise divine aesthetic film.

An iconic story, intoxicating setting and enticing characters come together to create a gorgeous film, albeit under slightly flawed direction.

The Place Beyond the Pines

"If you ride like lightning, you're going to crash like thunder."

A fairground stunt rider, Luke (Ryan Gosling), returns to a town to find that an old flame is now the mother of a child that he didn't know he had.  Desperate to have an impact on his son's life, he turns his biking talents to crime, with far-reaching repercussions...

The drama unfolds across three narratives and two generations, striking engaging parallels between father and son as it delves into the consequences of passion and the desire for revenge.  The first third of the film is undeniably the most thrilling, as it sets up the following for a deeper debate into conflicting morals.  Ryan Gosling and Bradley Cooper deliver convincing performances as profoundly contrasting characters; delivering two flawed yet identifiable protagonists.  The film subsequently delves into conflicting perspectives of authority, questioning the boundaries between corruption and justice.

Even with peroxide blonde hair and thousands of tattooes Ryan is dashing, but unfortunately the narrative becomes undesirably long and increasingly drawn-out.

Belated reviews from the spring coming soon!

Lincoln

"No one has ever lived who knows better than you the proper placement of footfalls on treacherous paths."

America, in 1865, was divided by prejudice and torn apart by war.  Lincoln delves into the political and personal implications of the President's attempt to pass the 13th Amendment, the abolishment of slavery, amidst a landscape of death and division.

The cast deliver exceptionally strong performances.  The Academy Award bestowed on Daniel Day-Lewis for this role is undoubtedly greatly deserved, as he flawlessly portrays Abraham Lincoln as both a politician and a man.  The film's production, furthermore, is perfection.  The brooding cinematography captures the dark context, while the incredible production design authentically brings to life a country in the throes of civil war.

Although it is a story that many will know the obvious end to; the narrative managed at times to maintain a sense of uncertainty and suspense that was engaging.  Unfortunately, however, this was ultimately defeated by the slow pacing and great length of the film.  The plot is dulled by the repetitive and monotonous political discussions: pierced only by the lovely, unexpected appearances of Lee Pace and Joseph Gordon-Levitt, whose choices cast conflict onto the protagonists.

While the production and performances were absolutely outstanding, the plot became long, winding and ultimately tedious; as the film eventually drew to its inevitable and thus predictable conclusion.

“Acting, films, scripts, is literally the only thing I’m 100% confident in. I know what I’m doing. I just understand it, and I love it. When I’m on set, that’s when I feel the most at home and in control.”

Jennifer Lawrence

Cirque du Soleil: Worlds Away

A young woman visiting a circus is enchanted by an aerialist.  When he suddenly falls, she follows him into a dreamlike world of surrealism, where the boundaries of science and imagination are defied.

Visionary filmmakers James Cameron and Andrew Adamson produce a film that captures the exhilarating and sophisticated feats of the awe-inspiring Cirque du Soleil.   With a stunning score and little dialogue, the film's emphasis is firmly placed upon the incredible, visual talent of the performers.  The film's narrative, however, was subsequently weak: constantly lost amidst the dramatic, yet incongruous, Cirque du Soleil displays.  Moving from one show to another, the film was constrained by the tents in which the characters moved: never allowing you to forget that you are watching a pre-existing scene from one of the Cirque du Soleil shows, obstructed by support wires.  While the circuses are undoubtedly stunning in their own right, it is difficult not to help thinking that an amazing opportunity to deliver an original cinematic story, through new and specifically-choreographed scenes, was greatly missed.

Cirque du Soleil: Worlds Away therefore provides a great introduction into the daring and visually-stunning world of Cirque du Soleil for new audiences.  Seasoned fans, however, may leave disappointed, craving something more...

Les Misérables

"I had a dream my life would be so different from this hell I'm living"

Revolutionary France is gripped by hunger, heartbreak and desperation.  Jean Valjean, imprisoned for a minor offence, seeks his freedom from the inspector Javert who is obsessed with recapturing him.  Rescuing a young girl named Cosette, they confront a society that is struck by injustice.

Hugh Jackman delivered a great performance as the protagonist; capturing both the strength and vulnerability of an honourable man who is unable to outrun the shadows cast over him by his past. Anne Hathaway, who won the Academy Award for her performance as Fantine, was also particularly stunning through 'I Dreamed a Dream' - in which her character breaks down as the song tumbles from her lips.   The artistry of the make-up and hair was excellent, as it depicted the social and physical disintegration of the characters.

However, there were aspects of the plot that were strikingly contradictory.  While the revolutionary ideology conveys that the working class should be identified with, the depiction of this class is largely grotesque; from the mascara streaked prostitutes to Helena Bonham Carter and Sacha Baron Cohen's comical turn as dishonest and degraded thieves.  The landscape of the film was unfortunately further flawed by the obvious computer-generated visual effects, as well as the overbearing camera angles that Tom Hooper cast on his characters.  The film stylistically, therefore, would have perhaps faired slightly better under different direction.

While the impossibly great expectations imposed on Les Misérables, after it's highly successful West End run, were always been difficult for the film to meet, the cinematic adaption does produce some strong acting and successfully captures the musical's most iconic songs.

The 85th Academy Awards

ANNA KARENINA

Costume Design

AMOUR

Foreign Language Film

ARGO

Best Picture ● Film Editing ● Writing - Adapted Screenplay

BRAVE

Animated Feature Film

DJANGO UNCHAINED

Actor in a Supporting Role ● Writing - Original Screenplay

LES MISÉRABLES

Actress in a Supporting Role ● Makeup and Hairstyling

LIFE OF PI

Directing ● Cinematography ● Visual Effects ● Music - Original Score

LINCOLN

Actor in a Leading Role ● Production Design

SILVER LININGS PLAYBOOK

Actress in a Leading Role

SKYFALL

Music - Original Song

Silver Linings Playbook

"You have to do everything you can, you have to work your hardest, and if you do, if you stay positive, you have a shot at a silver lining."

Silver Linings Playbook is a film about obsession, love and the delusions of reality.   Pat (Bradley Cooper) is released to his parents from psychiatric care, after the violent discovery of his wife's lover.  He meets Tiffany (Jennifer Lawrence), a beautiful but damaged young woman, and with her aid he is determined to win back the love of his wife.

The script delves into the tensions between optimism and negativity, and the implications that are produced both psychologically and physically.   Cooper and Lawrence's performances are perfect: portraying two strong and distinct leads who are constructed through their flaws.  Lawrence approaches Tiffany with sophistication; portraying her character with maturity and depth.  Cooper, meanwhile, perfectly captures the psychological turmoil of his character; the emotional extremes and the explosive tendencies of his fragile state of mind, as he clings blindly to the ghosts of his past.  Together they bring humour and humanity to their damaged characters; allowing the flaws of the human condition to be embraced.

Silver Linings Playbook balances upon the perfect edge between psychological drama and comedy, as it delves into the complexities of emotion.  This produces a film that, despite the underlying darkness, is at once greatly engaging and enjoyable.

Life of Pi

"If you believe in everything, you will end up not believing in anything at all."

Life of Pi is based on Yann Martel's novel, in which a storm strikes a ship on a voyage from India to North America, casting adrift a young man named Pi.  Entrapped upon a lifeboat with a tiger, they are each forced to fight for their survival.

The film is visual perfection: portraying dazzling landscapes and beautiful worlds, that are particularly stunning after nightfall.  This creates a dazzling canvas upon which faith is explored and challenged, from a young boy's wonder through to a man's desolation and desperation.  The early discussions in which the principle of truth is challenged, however, casts the narrative in a questionable light from the off.  The shipwreck subsequently delves into the notions of reality and fiction through an unbelievable yet amazing series of events.

Told through a profound use of metaphor and symbolism, the definition between the protagonist's dreams and truth is increasingly lost.   The visual effects and divine cinematography subsequently both affirm and tease the authenticity of the narrative, challenging the fabrication of story-telling.  The exquisitely animated animals, in addition, become increasingly convincing and genuine as the film progresses; constructing a powerful relationship founded on fear and empathy.  These features of the narrative create a story that is at once moving and extraordinary.

A beautiful, symbolic film that challenges the perceptions of truth and fiction.

"What am I thinking I almost walked past George Clooney without hugging him.  That's just... that's just stupid."

Anne Hathaway at the BAFTAs

The 66th British Academy Film Awards

This year's BAFTAs, led by the fabulously eloquent Stephen Fry at the beautiful Royal Opera House in Covent Garden, saw an array of stars acknowledged for their excellent work in film.  Life of Pi received great acclaim for its stunning visual achievement, while Ben Affleck's Argo won the awards for Best Director, Editing and the much coveted title of Best Film.  

The Award Winners:

AMOUR

Leading Actress ● Film Not in the English Language

ANNA KARENINA 

Costume Design

ARGO

Best Film ● Director ● Editing

BRAVE

Animated Film

DJANGO UNCHAINED

Supporting Actor ● Original Screenplay

LES MISÉRABLES

Supporting Actress ● Production Design ● Sound ● Make-Up & Hair

LIFE OF PI

Cinematography ● Special Visual Effects

LINCOLN

Leading Actor

SILVER LININGS PLAYBOOK

Adapted Screenplay

SKYFALL

Outstanding British Film ● Original Music

"In the end, it’s only a passing thing; this shadow.  Even darkness must pass.  A new day will come.  And when the sun shines it will shine out the clearer.  Those were the stories that stayed with you.  That meant something, even if you were too small to understand why.  But I think, Mr. Frodo, I do understand.  I know now.  Folk in those stories had lots of chances of turning back, only they didn’t.  They kept going.  Because they were holding on to something."

The Lord of the Rings: The Two Towers

Jack Reacher

"Look at the people. You tell me which ones are free?"

Based on the novel series by Lee Child, Jack Reacher is the story of an untraceable man who has no ties and knows no bounds.  When evidence indisputably pins James Barr as a serial-murderer, he calls upon the untraceable Reacher.  As Reacher is drawn into the investigation, he finds himself pulled deeply into a dangerous world of deceit.  The storyline plays out confidently by balancing action with conspiracy, which produces suspense and intrigue.  The use of altering flashbacks allow the plot, and our perceptions, to be continuously manipulated and twisted.  

Tom Cruise stars as the title character, who is ironically famous for his tall and imposing presence throughout the novels.  It is therefore difficult to overlook the incorrectness of Cruise's physicality for the role.  However, he delivers the character well: perfectly capturing the mannerisms and character of Reacher, so that by the end he has constructed a character whose presence is imposing, regardless of his stature.  Rosamund Pike co-stars alongside him as the female lead, Helen, whose character is flawed by inconsistencies.  Representing the contemporary strong woman, a beautiful and intelligent defence attorney striving to achieve success, she finds herself suddenly torn back into the archetype of a damsel in distress, who is helplessly lost the presence of Reacher and ineffective.  The other fleeting, yet perhaps more intriguing, female character is Sandy, who becomes an ironic symbol of fragility and manipulation within a corrupted world.

With a clever story, the film makes for a good action-thriller.  The undoubtable ambition of it spawning a new franchise of film, however, is a less than promising prospect.

The V&A's Hollywood Costume Exhibition

Amidst a dark and wintery South Kensington lay a mesmerising collection of iconic Hollywood costumes at the V&A.

The closing night of the phenomenally successful Hollywood Costume exhibition provided a perfect insight into the awe-inspiring world of film costumes.  Set across three galleries, the secrets behind the designs and the relationship between the costume, character and plot were delved into.  Around every corner was a new and beautiful piece to be examined.  Timeless dresses such as Audrey Hepburn's classic black dress and diamond necklace, from the opening of Breakfast at Tiffany's, stood across from Marilyn Monroe's floaty white dress in The Seven Year Itch.   Screens illuminated the walls and ceilings, bringing to life the costumes as they starred in the films.

The stunning collection also included Jack's Sparrow's rugged pirate attire; Anna Karenina's divine burgundy silk gown; Indiana Jones' iconic worn ensemble in Raiders of the Lost Ark; Satine's sparkling, feathered dress from Moulin Rouge; Keira Knightley's gorgeous green silk dress from Atonement and the famous gingham pinafore from The Wizard of Oz.  The open layout of the displays allowed each costume to be viewed up close and every exquisite detail to be treasured.  The exhibition furthermore featured precious costumes from Black Swan, The Matrix, Titanic, The Artist, Gone with the Wind, Sherlock Holmes, Marie Antoinette, Camelot and Star Wars, amongst many other great films.  The stunning ensemble of costumes produced a flawless gateway into each of the films: marking an amazing homage to the artistry of costume design.

"We all want to be the hero of our own story, of our own great passion, but Anna thought love would allow her to break all the rules."

Keira Knightley on Anna Karenina

Amour

"C'est beau."

"Que?"

"La vie."

Amour is the story of an elderly couple, Anne (Emmanuelle Riva) and Georges (Jean-Louis Trintignant), who are each other's world.  When Anne suffers a stroke and begins to show symptoms of both physical and mental deterioration, they are thrown the greatest test.

The leads' performances are outstanding: perfectly capturing the heartache, struggle and disintegration of a couple within their difficult position.  This produces an account that is at once convincing and uncomfortable.  The film's realism is further heightened by long, lingering scenes that create an intimate, but intrusive, portrait of Anne.  There is no doubt that Amour is worthy of each its Academy Award nominations.  But as the situation unfolds, it becomes increasingly difficult to watch and it is impossible to draw pleasure from this perfectly crafted film.

Stylistically and technically, Amour is an incredible piece of cinema, driven by its exceptionally strong leads.  However, Michael Haneke's blunt and uncompromising filmmaking produces an indisputably bleak and depressing picture.

To Catch a Thief (1955)

Alfred Hitchcock presents a romantic thriller, set against a Mediterranean backdrop of the French Riviera which is pierced by sinister tones.

A master thief known as 'The Cat' (Cary Grant) is forced to defend his innocence when a series of jewel thefts that closely resemble his style throw him back into the spotlight.  With the plan of ensnaring the thief, he draws a rich American and her daughter (Grace Kelly) into his elaborate ruses.

Grace Kelly stars as the controlling yet charming Frances Stevens.  Her costumes, by Edith Head, are gorgeous; from her ice blue chiffon gown to her elegant white dress.  Her character is the personification of class and sophistication: leading a high-speed car chase in a stunning sapphire blue Sunbeam Alpine, white driving gloves and heels.  Intuitive and confident, Stevens is a strong leading lady who challenges fashion and indulges in her affluence.  To Catch a Thief also relishes in Hitchcock's effective use of light and shadow, with an iconic firework scene that features beautiful cinematography.  Concluding in a lavish costume party of Marie Antoinette-esque decadence, the film is underlined by deception, suspense and mystery.

A glamorous and intriguing thriller from Alfred Hitchcock.

The New Year's Most Anticipated Films

THE GREAT GATSBY  

17 May

Baz Luhrmann's magical and musical flair promises to produce a contemporary take of the classic novel.  The mysterious Jay Gatsby (Leonardo DiCaprio) throws glamorous parties, but he is haunted by the girl across the bay, played by Carey Mulligan, who he loves and has lost.  Told in the glitzy 1920s, The Great Gatsby is a story of love, lust and betrayal.

CATCHING FIRE  

22 November

The highly anticipated sequel to The Hunger Games returns to the dystopian districts in which Katniss Everdeen (Jennifer Lawrence) and Peeta Mellark (Josh Hutcherson) are confronted with the consequences of defying the Capitol.  Forced to compete in a second Hunger Games, they find themselves in a deadly game of revenge and rebellion.

THE HOBBIT: THE DESOLATION OF SMAUG  
13 December

The second part of The Hobbit trilogy continues Tolkien's timeless story, set in the depths of Middle-earth.  Led by the excellent Martin Freeman and Richard Armitage, the dwarves proceed on their quest to the Lonely Mountain to reclaim what has been lost.  With the return of the elves and a greater presence of the dragon Smaug, the second part is set to be a promising continuation.

MAN OF STEEL  

14 June

Zack Synder's new interpretation of Superman returns to the origins of the character; telling the story of a young man struggling with his identity.  Henry Cavill stars as the title hero, who is defined by his iconic cultural presence and eternal idealism.  Christopher Nolan is a producer, which perhaps promises to raise the film to a Dark Knight-esque caliber.  

STAR TREK INTO DARKNESS 
17 May

The return of Star Trek by JJ Abrams delivered a film that perfectly balanced both the classic canon and a fresh originality that won over both new and old audiences.  This year's new film promises to be darker, with identifiable futuristic landscapes and deadlier politics.  Benedict Cumberbatch joins the returning cast of Chris Pine and Zachary Quinto as the deadly and sophisticated villain, who turns on them from the inside.