FILM REVIEWS: IP MAN 3/THE REVENANT/ROOM

Ip Man 3

The third instalment in a series focusing on Chinese Wing Chung grandmaster Ip Man (probably best known in the west for being mentor to Bruce Lee). As with the previous films, Ip Man is played by living Hong Kong legend Donnie Yen who is tasked with protecting the local community from a gang of martial arts practicing thugs whilst also facing a new hungry rival. The film is much in the spirit of the preceding two Ip Man films with Yen. Martial arts sequences are unsurprisingly regular and impressive whilst the performances are extremely broad, especially with boxing icon Mike Tyson playing the leader of the thugs. The film was packaged with 3D, but for no real justification, especially as it only becomes noticeable towards the film’s end. Fans of the previous Ip Man films will probably be satisfied as this is really more of the same. For newcomers, expect something entertaining but not a guaranteed winner. ***

The Revenant

Perennial Oscar nominee Leonardo DiCaprio has come to the awards a few times now being heavily favoured and coming up short of the Best Actor Oscar. Could this finally be Leo’s year? Well, it’s certainly the case that other competitors for the prize are definitely going to have to work hard to deservedly surpass him. One man’s tale through the American wilderness, Revenant follows fur trapper Hugh Glass (DiCaprio) as he is left for dead along the trail, on his trek back to civilisation. Director Alejandro Gonzales Iñárritu brings with him the same panoramic tracking shots that served him so well in Birdman (2014) that help give the film tremendous atmosphere, with the rugged landscape of America’s frozen north equally showing the rugged visage of the usually-famously-babyfaced DiCaprio. In addition, there are memorable supporting roles, particularly Tom Hardy as the film’s racist redneck antagonist and Domnhall Gleeson as the young but principled leader of the trapping expedition as well as a stunning score by soundtrack veteran and Japanese music icon Ryuichi Sakamoto. It is a truly rare thing to spot an instant classic; those things usually require the posterity of history. However, in the case of Revenant, I truly think we have one of the best films of the twenty-first century. ***** (pick of the week)

Room

 Another one of the films featured heavily in the Oscars this year, Room is an adaptation of the Lisa Donoghue novel about a woman (Brie Larson) and her son (Jacob Tremblay) adjusting to the world after years (in the son’s case, an entire life) confined as prisoners in a small shed known as “Room”. Donoghue also adapted the screenplay herself and the film wisely chooses to focus on the psychological and emotional aspects of imprisonment after release, giving an original but rich twist on such a tale. Even more so, the film wonderfully showcases some great performances from across the cast. Special mention should go to Larson and especially to young Jacob Tremblay, truly an actor to watch for in the future; an emotionally-charged but very rewarding watch. ****

FILM REVIEWS: THE DANISH GIRL/JOY

The Danish Girl

After a very tumultuous 2015 for Eddie Redmayne that included an Oscar for The Theory Of Everything and an already famously goofy performance in the equally-banal Jupiter Ascending, he has reunited with Les Misérables  (2013) director Tom Hooper to play the lead in this film about Danish artist and transgender pioneer Lily Elbe. Whilst I will admit to not being Redmayne’s biggest fan in the past, here he delivers a truly heartfelt performance that cannot help but inspire immense empathy from all but the most stony of hearts. Redmayne is not alone in the film’s accolades as praise should equally be given to his co-star Alicia Vikander for her usually graceful work and Tom Hooper’s elegant and sumptuous director’s eye. There has been some criticism of how the film deals with the reality of Lily Elbe’s life and I sympathise, especially since I think the alterations (which come from a novel based on her story) are no more interesting or serve the story better than the reality, but it’s a light scuff on an otherwise beautiful film. With Matthias Schoenaerts, Ben Whishaw and Amber Heard. ****

Joy

Whilst Silver Linings Playbook (2012) provided a much-needed shot in the arm for director David O. Russell’s career and brought together an already-established duo in Bradley Cooper and Jennifer Lawrence (with Robert De Niro forming a triumvirate), Russell’s recent work has been essentially at the same level; fundamentally decent and enjoyable, but never truly reaching that next level. So it is with Joy, a film based loosely on the life inventor and businesswoman Joy Mangano played here by Jennifer Lawrence. Mangano’s background seems a rather novel premise for a biopic as it deviates from the traditional Hollywood idea of the subject of these movies and there is definitely something to be said for Mangano’s story. The film presents her story with humour and intrigue, largely off of the back of its strong supporting cast and resilient attitude to not get bogged-down in melodrama or sorrow. That does however cost the film some weight and whilst you will probably enjoy the film for its duration, it will not be one you will reacquaint yourself with over and over again. 

My Top 10 Films Of 2015

Top 10 Films Of 2015

10. Still Alice

Definitely one the year’s stand-out films in terms of acting performances, Still Alice features stellar work from the brilliant Julianne Moore as woman struggling through early-onset Alzheimer’s. As amazing as Moore’s performance is however, credit must also be given to her strong supporting cast, especially Alec Baldwin in this compassionate and engaging drama.

9. Love & Mercy/Straight Outta Compton

A bit of a cheat, but I thought I’d group these two films together. Both dramas based on musical groups and featuring Paul Giamatti, both are also wonderfully-structured and acted dramas that represent their respective musical genres (Beach Boys’ surf and experimental/baroque-pop alongside NWA’s pioneering gangsta rap) in a very strong light whilst also providing the audience with a lot of dramatic meat alongside the music. Worth recommending for a double-bill whether you’re a music-lover or not.

8. Brooklyn
Something of a sleeper in its release, Brooklyn has still managed to find a receptive audience and the attention it deserves. The wonderfully talented Saoirse Ronan stars as a young Irish girl in 1950’s New York and the film wisely follows both her lead and the skills of the various supporting players, in particular Julie Walters in one of the year’s best lighter roles.


 7. Mad Max: Fury Road
Many years in the making, George Miller’s saga about “Mad” Max Rockatansky, one lone man against the post-apocalyptic wilderness, came to a new instalment in Fury Road, a film that only matches the classic Road Warrior (1981) in terms of excitement in the four-part series. Rather than revisiting Mel Gibson’s performance, Tom Hardy brings his own distinct presence to Max as does the rather unlikely casting of Nicholas Hoult as Nux who feels a perfectly natural addition to the franchise. Of course the show still manages to be stolen by Charlize Theron as heroine Furiosa, a character strong enough to helm a franchise all her own against the wonderful and kinetic energy that Fury Road brings to the table. Welcome back, Max. We missed you.

6. Bridge Of Spies
One of the most recent films to be in this Top 10, Bridge Of Spies is what happens when you pair Steven Spielberg, the Coen brothers, Tom Hanks and Mark Rylance. Is there any wonder as to why this Cold War drama turned out as well as it did? Whilst it may not be as spectacular as Close Encounters Of The Third Kind (1977) or Raiders Of The Lost Ark (1981), Spies is Spielberg in comfortable, but not complacent, territory with Tom Hanks giving the film a Jimmy Stewart/Henry Fonda idealism and compassion that holds the film alongside Mark Rylance’s wry humanity and humour. If it’s not one of Spielberg’s best films, that only stands as testament to how great a film-maker he truly is.


5. Star Wars - Episode VII: The Force Awakens

One of the most-highly anticipated films of all time but also one of the most tentatively-approached given the mixed (at best) opinions on the prequels to George Lucas’ cinema-changing space opera saga. To the relief of millions of fans the world over, this new instalment has been well-received. Director J.J Abrams invigorates the franchise with new life whilst also staying very true to the tone, excitement and even humour that was in Star Wars at its very best. John Boyega and Daisy Ridley also make strong performances as the leads early in their careers. The fanboy in me wants to rate this higher on the list, but objectively there were better films. Still, that should tell you all you need to know. Having already grossed over a billion dollars, Force Awakens deserves every penny of its success.

4. Inside Out

There’s a reason why everyone loves Pixar. Innovators that they are in animation, they are also a studio that understands films for younger audiences can (and should) be as intelligent and insightful as cinema made for adults; a philosophy shared only by their idols/associates at Studio Ghibli and (usually) their bosses at Disney. Inside Out is a wonderfully profound and smart but still lovable film that manages to take large concepts surround the mind and the self and producing something that works wonderfully with an intelligence that will even be a bit heavy for parents in the audience (Seriously, who understands the section on abstract thought?) but it’s this depth that will make it a film to return to for many years to come. A film of both mind and soul.

3. Selma
Last year’s release of Mandela: Long Walk To Freedom was partially prepped to becoming a titan, tinged with the tragic timing of coinciding with Nelson Mandela’s passing but was quickly forgotten amidst faintly positive reviews. Selma harks back to an earlier tale of civil rights with a leader long such passed but with a raw power mixed with sincerity that is clear right from the opening blast that took the lives of young African-American children in Birmingham, Alabama. Although three of the film’s most prominent cast members are British (David Oyelowo, Tim Roth, Tom Wilkinson), the authenticity in intention rings true. This is a film that for all the gloss still has a strength in its message and is all the more important because of it.

2. The Martian

Last year we got Interstellar, a science-fiction blockbuster that combined grandeur with scientific-plausibility to provide something truly impressive. Now, we have The Martian a film that somehow managed to up the ante. A marvellous comeback for Ridley Scott, The Martian does a rare but wonderful thing, takin heavy science and making it relatable both in pacing and demonstration as well as the brilliantly charming and human performances, especially from Matt Damon who sometimes has to carry the film single-handedly along the terrain of the rocky red planet. The film also deserves kudos for its brilliant pop/disco soundtrack with the beautiful sequence set to David Bowie’s Starman and rarely has more appropriate music been used to score closing credits.

1. The Walk

Perhaps an unusual choice for my Film Of The Year, as it did do well critically but never got massive recognition. I hold The Walk as being one of my favourite Robert Zemeckis films and a wonderful tribute to his own work as well as that of tightrope-walker, Philip Petit. Playing Petit, Joseph Gordon-Levitt is charming and charismatic whilst the story is well-paced and humorous. When it comes to the film’s centrepiece, the titular walk, the film was sold on suspense and tension. I don’t think that was Zemeckis’ intention. Instead, it is whimsical and beautiful. Zemeckis has always been a director of spectacle and with The Walk, he accomplishes it in spades. Cinema is a medium for magic and The Walk exemplifies that same magic.