Black Mass
Famed for his rather chameleonic abilities as an actor,
Johnny Depp (complete with blonde hair and blue eyes) plays notorious gangster
James “Whitey” Bulger in this telling of Bulger’s crimes and investigations. It’s
telling how much of an influence Martin Scorsese has had on the crime genre
that this film sticks so closely to that style a great deal. That isn’t
entirely a fault of the film as its own stabs at originality (including the
murkier look than your standard Scorsese picture) help give the film its own identity
and keeps the action engaging. The problem is more to do with the uneven way
Bulger’s life is documented. Whilst much focus is given to the rather shady way
in which Bulger started working for the CIA occasional diversions into Bulger’s
more direct activities and his relationship with his seemingly straight-and-narrow
politician brother played by Benedict Cumberbatch (a subplot that is easily the
film’s most interesting element) throw the focus a little too haphazardly and
Depp’s heavily made-up features and imposing frame do cut a little from Bulger
being a believable character. Not one of Depp’s best moments, but equally (if
not more so) not one of his worst. Also features Joel Edgerton, Jesse Plemons,
Peter Sarsgaard, Dakota Johnson, Adam Scott, Corey Stoll and Juno Temple.
Bridge Of Spies
It’s hard not to have high hopes for a project that involves
director Steven Spielberg, leading actors Tom Hanks and Mark Rylance alongside
a screenplay partially written by the Coen brothers so it’s at least reassuring
that Bridge Of Spies goes some way to living up to that potential. Hanks plays
lawyer James B. Donovan who finds himself defending Soviet agent Rudolf Abel,
played by Rylance. Donovan’s work will not only serve to help save Abel’s life
from execution but later serve in negotiations to free two young Americans
(Will Rogers, Austin Stowell) on the Eastern side of the Berlin Wall. Despite
being two renowned actors of different disciplines (Tom Hanks being a veteran
of TV and film whilst Mark Rylance’s career has been, until recently, dominated
by theatre) it is the two leads that help bring this film to such a high level.
As always, Tom Hanks is an assured and warm presence with an idealistic
sincerity unmatched most of his contemporaries, recalling Henry Fonda and James
Stewart whilst Rylance’s droll but dignified delivery makes a fine
counterpoint.
As the film progresses, the slightly off-kilter and humorous
approach that is distinctive of the Coens starts to make more of a presence but
serves to aid the film even though it would seem at odds with the earnest
intentions. There are problems, noticeably in the rather washed-out (if
somewhat justified) cinematography and this doesn’t quite deliver the upmost in
emotional heft that Spielberg is so masterful at wielding, but this is still something
of an endearing and impressive film. **** (pick of the week)
Carol
Todd Haynes directs this adaptation of Patricia Highsmith’s
novel (originally titled The Price Of Salt) about an affair between two women;
the worldly middle-aged Carol (Cate Blanchett) and reserved young Therese
(Rooney Mara). Set against the backdrop of 50’s America, Haynes’ direction and Edward
Lachman’s cinematography make for a gorgeous combination coupled with the passionate
and romantic prose of Highsmith and screenwriter Phylis Nagy. Cate Blanhett is
wonderful as always, encapsulating both a poise and a knowing intelligence
about the world as Mara’s wide-eyed (literal as well as metaphorical) innocence
provides a characterful balance. The high emotional stakes may push the film
perhaps a little too close to melodrama at times, but all things considered
this is an impressive effort. ****
Doctor Zhivago
Now celebrating its fiftieth anniversary, David Lean’s
screen adaptation of Boris Pasternak’s romance epic returns to screens large
enough to capture Lean’s panoramic visions in all of their splendour. Omar
Sharif plays the physician poet of the title whose affair for the beautiful
Lara (Julie Christie) comes and goes
with the turbulence of the dawning Soviet Union. At over three hours and with noticeably
sentimentalist bent, Zhivago doesn’t quite reach the heights of Lean’s Lawrence
Of Arabia (1962), the film that made Sharif an icon, but the spectacular
scenery and a cast of legendary actors giving it their all makes this film’s
status as a classic a justifiable one. Amongst the supporting players are Alec
Guinness, Rod Steiger, Tom Courtenay,
Geraldine Chaplin, Ralph Richardson, Rita Tushingham and Klaus Kinski to name
but a few. ****
The Good Dinosaur
2015 has been a busy year for the folks at Pixar with two
theatrical releases. Earlier this year saw Inside Out, possibly one of the most
intelligent family films of all time and already established as one of Pixar’s
best. Outing number two for the company, The Good Dinosaur, has languished on
the shelf and whilst the resulting film has its moments to shine, it definitely
falters in Inside Out’s shadow.
Raymond Ochoa is a dinosaur runt named Arlo who finds
himself far from home after chasing a wild human child (the film being set in
an alternate reality where dinosaurs evolved into sentient creatures rather
than become extinct). As Arlo and the human boy, named “Spot”, travel through
the wilderness they encounter many traps and here’s a central issue for the
film. With its child protagonist and bright, colourful aesthetic (even for
Pixar standards) this may seem to appeal to younger children but instead strays
into some harsh territory that might be a little rough for very young children
alongside other factors (this may be the only Pixar film to have what is
essentially an acid trip sequence). Borrowing elements from Lion King (1994)
and, of course, The Land Before Time (1986), The Good Dinosaur is not a film to
pull its punches, which is commendable, and has some gorgeous animation and
ideas, but also laboured writing and the aforementioned inappropriate material
for very sensitive viewers. Pixar have done better, but considering their very
high standard, this doesn’t make for an altogether bad film. ***
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