Joy (2015) – Unthank Review

One of the greatest elements of Art is its ability to allow many to experience the plight and triumph of few. From poetry, novels and cinema, we are able to experience a multitude of different stories from backgrounds and people who who are distinctly different from ourselves. In David O. Russell’s Joy (2015) this noble approach is taken to telling the story of Joy Mangano, the inventor of the Miracle Mop.

On paper, the life story of inventor, entrepreneur and highly successful businesswoman Joy Mangano seems like the perfect blueprint for an engaging and affecting biopic, which gives screen space to a strong, independent woman which is rare in the age of the masculine superhero blockbuster. In practice, however, it doesn’t work out that way.

Joy herself is portrayed well by Jennifer Lawrence, who brings an intelligence and strength to the role while still being able to showcase Joy’s vulnerability. The problems arise in the overall structure of the film, the flawed narrative technique and a reluctance to flesh out what appear to be more interesting elements of Joy’s life in favour of the standard A-Z biopic formula.

The film focuses on the invention and initial taking off of Joy’s Miracle Mop, following the process from conception, manufacture and then finally commercial success on the home shopping channel QVC. While it’s understandable why this was chosen as the focus of the film, it’s an inspirational and satisfying story of entrepreneurship and success against all odds, it has all the depth of a Wikipedia article. O. Russell struggles to tack on a sense of grandeur to proceedings, and the film takes several detours, which seem overly dramatic and don’t work within the context of the film.

This notion of making the film more cinematic is applied to the narrative frame, which is at best convoluted and at worst broken. The beginning of the film has a voiced narrator,which continues till the end, but after a certain point makes absolutely no sense. There are also stylistic techniques such as flash-backs and flash-forwards, along with dream sequences and montages, all of which fail to add anything to the film and just create a feeling of the director throwing everything at the screen to hide the fact from the viewer that they are essentially watching a T.V movie.

Often, when films are made of T.V shows, they have the feeling of being stretched, and lacking the cinematic quality required to work in the context and scale of a cinema. This is the feeling that comes across when watching Joy (2015), which if seen in passing one night while flicking channels would be a pleasant surprise. On the big-screen however, the simple portrayal is too shallow, and the avoidance of more interesting elements (Joy’s problematic relationship with her family is one which begs for more exploration) stops it from reaching the heights it aspires to.

The Voices (2014) – Unthank Review

The Voices (2014) follows Jerry (Ryan Reynolds) a likeable toilet factory worker who spends his time working working 9-5, occasionally helping out at the office party, and having meaningful conversations with his good-natured dog Bosco and his malevolent cat Mr. Whiskers (both of whom are voiced by Reynolds).

Ryan Reynolds gives a powerful performance as a man struggling with mental demons but is let down by the overall tone of the film, which can’t seem to decide on wether it wants to be a serious study of mental illness, a black comedy, or a schlock horror.

The films treatment of Jerry’s condition is very problematic, and what could potentially have been an interesting investigation and character study ultimately descends into stereotype and cliché.

Overall there are some interesting moments, but really this is Reynolds film and his performance carries it off, bringing true likability and sympathy to what potentially could have been a two-dimensional caricature. Guaranteed to be one of the oddest films you’ll watch this year, if not the best.

Four Lions (2010) – Unthank Review

In 2007, a failed terrorist attack took place at Glasgow Airport when two men attempted to drive a car filled with explosive canisters through the front terminal, but were stopped by bollards and a heroic bag-handler named John Smeaton. The following reportage highlighted the inadequacies of the terrorists, deflating their intended terror through ridicule. Chris Morris has said that this event and the way it was viewed gave him the inspiration for Four Lions (2010), a satirical look at modern terrorism and a very, very funny film about a serious subject.

The film follows a group of four bumbling British Jihadists as they attempt to plan an attack which will earn them a fast-track to paradise, or as one character explains to another – like skipping the queues at Alton Towers. That kind of illustrates the tone the film adopts, which is at times ludicrous but usually biting in its wit.

Making a film about terrorism, especially in the climate we live in, is a very risky endeavour. Using as its focus British Muslim men, the film walks a fine line and could very easily have veered into a racist and stereotypical view of a large group of people. However, the success of the film lies in its writing, in that, as with all great satire, the jokes and situations can be seen in their specific context but also as a comment on an issue on a grander scale.

One of the key achievements of the film is that no matter their flaws, despite their intentions, you become endeared to these characters. At no point does the film justify their actions but their delusion, confusion and inadequacies provokes sympathy, and leads to some poignant and almost moving moments.

Like I mentioned before, Four Lions (2010) is very, very funny. The writing is absolutely fantastic and the film is packed to the brim with memorable quotes and standout sequences – after several viewings the scene with the sheep still gets me. It manages to walk the fine line that every successful satire does by existing as a standalone story but also managing to be transferable. It also does the unthinkable and allows you to sympathise with these people, they are not evil, just misguided and deluded, and above all human, which is possibly the most important message to that can be taken away.

End of Watch (2012) – Unthank Review

It’s a reasonable argument to make that End of Watch (2012) would not be received well if released today, given the highly volatile situation in the United States which has arisen due to numerous senseless shootings involving police officers and unarmed members of minority groups. The film, which combines mock-documentary, found footage and traditional narrative techniques to follow two young police officers in a dangerous district of LA as they navigate gangs, drugs and the politics of the force.

The film is very much on the side of the police, it can be seen as a counter-argument to David Ayers Training day, although even in that film the honest cop essentially wins in the end. There are no ambiguities here, Brian Taylor (Jake Gyllenhaal) and Mike Zavala (Michael Pena) are the good guys, albeit with their own morals, attitudes and flaws. With the film being so focused on the daily workings of these two individuals, its important that the audience is allowed to get to know them and care for their well-being. This is achieved very well through the in-car banter between the two lead actors, who share a warmth and comfort which makes you truly believe they would risk their lives for each-other, and its surprising to learn that the two actors did not get along off camera as they seem to have so much chemistry in-front of it. We also see their lives outside of the patrol-car, and are shown just how much they risk to protect and serve.

The villains and bad-guys of the film are not given nearly enough attention, and end-up becoming flat caricatures and cartoon gangsters. In-fact, End of Watch (2012) can be seen as two separate films – a gritty portrayal of the life of a police officer in LA, and a ludicrous crime drama involving cartels, human trafficking and gold-plated Ak’s. However, one half of the film manages to be good enough to hold up the other, and by the time the un-believability factor ratchets up we are already invested in these characters enough to go with it.

End of Watch (2012) is an interesting film to look at in context to what I mentioned at the beginning of this review. It gives viewers a glimpse of what appears to be a fairly accurate portrayal of doing a dangerous job in a very dangerous place (Gyllenhaal and Pena reportedly spent extensive time with LAPD officers during ride-along’s to gain first hand insight). However, like any story, not everything is black and white. Yes, police officers are heroic and put their lives on the line on a daily basis to protect the public, but they are also human, with their own prejudices and beliefs which can easily spill over with disastrous effects. End of Watch (2012) paints a picture of a noble brother/sisterhood, a thin blue line of protection against the bad guys, and while the film pulls all the right emotional punches due to good character development and strong lead performances, it fails to explore the larger issue of good and evil on both sides, a failure which unfortunately does not withstand todays reality.

Gone Girl (2014) – Unthank Review

Gone Girl (2014), the mystery/thriller from David Fincher, is definitely a film that should be seen completely dry. Although, due to the high critical reception and accolades the film received this might be difficult. I managed to remain oblivious to the plot of the film, even after a year of release, so managed to experience the full impact of the plot. That’s as much as I’ll say on the matter as not to inadvertently give anything away, but if you haven’t heard much about this film then stop reading and go watch it.
For those of you still in need of some convincing, the film follows Nick Dunne (Ben Affleck), who comes home one day to discover what appears to be a break-in at his home, along with the disappearance of his wife Amy (Rosamund Pike). The film then becomes a murder/mystery tale, as both the characters and the audience try to determine exactly what has taken place.

The structure of the film takes the form of two separate time lines – the present with Amy’s disappearance, and the past showing the deterioration of the couple’s relationship. This set up works exceptionally well, and there is enough mystery along the way to keep the audience guessing. About halfway through the film there is a startling revelation, and the movie completely switches tracks, and this is what elevates it.

Performance wise Affleck is fine as the suspicious husband, likeable enough so we care about him but shady enough so as his innocence is never completely certain. However, the true star of the piece is Pike. Her performance is mesmerizing, and the way she shifts between personas, mostly in-scene, is truly remarkable.

The film tackles some interesting issues, for example a good portion of the film uses the idea that in the absence of a body, the police are reluctant to pursue a conviction of Nick, but instead of being put on trial he is judged by the public, with his action in-front of the gathered media held as evidence of his guilt (his wife is the basis for a well-known literary character, hence the large public interest). This brings in the idea of performance, of being not who we are but who we think people want us to be, which becomes a major theme of the movie.

Gone Girl (2014) is Fincher once again showcasing why he is one of the most exciting and truly visionary directors of this generation. He is one of the few Auteurs operating within the hollywood mainstream where one can see their film and say “that’s a Fincher film”. The film is technically gorgeous, and the plot is one which will have you hooked from the start, just make sure you don’t do too much digging before viewing.

Chasing Amy (1997) – Unthank Review

In Chasing Amy (1997) Kevin Smith turns his paradoxical mix of razor-sharp dialogue and gutter-humour towards the genre of the Rom-Com. However, in true Kevin Smith style, this is no simple story of boy-meets-girl.

The movie focuses on the blossoming relationship between comic-book creator Holden McNeil (Ben Affleck in one of his earlier roles) and Alyssa Jones (Joey Lauren Adams). Unlike traditional films in the genre, the barrier doesn’t come in the form of class, family or differing views on the Israeli/Palestine conflict (it’s bound to happen). In the case of Chasing Amy (1997) its that little explored story of boy-meets-and-falls-for-lesbian.

I feel the need to clarify something at this point. Throughout the film Alyssa is referred to as a lesbian, which could cause some issues when watching the film as viewers may get the impression that what the film is saying is that deep down all lesbians are inherently straight, and in the somewhat blunt words of one of the main characters “All every woman really wants, be it mother, senator, nun, is some serious deep-dickin’. However, although never explicitly stated, through speeches she gives (and you know in a Kevin Smith film you get some good speeches) the impression is given that Alyssa is bi-sexual, although with more of a preference for women. I think when this is taken into consideration the tone of the film shifts as it’s not about a man “turning” a women, but about said women being open enough to find love wherever it appears.

In many aspects Kevin Smith was ahead of his time. Sure, he achieved true cult success and has an avid fan base, but his bro-centric films pre-dated the Brat-Pack/Judd Appatow revolution by many years but he has never achieved that level of mainstream box-office success. At the time, Chasing Amy (1997) was unique in its genre for its discussion of non-heterosexual relationships, and although some of the language is archaic, its said by characters that are shown to be wrong and who are repeatedly called on it.

Chasing Amy (1997) is a fresh take on the Rom-Com genre and although being released more than fifteen years ago is still a rare example of the mainstream of that category tackling anything other than the simple boy-meets-girl formula. Smith’s script is great and as always his dialogue is completely on point, and fans can rest easy that there is still an abundance of Star Wars references, Skeeball and more lore to feed into the View Askew Universe, including another appearance from Jay and Silent Bob. Smith also nails the tone by constantly schooling the two straight male characters when they make ignorant remarks and observations. Although he might have moved his focus onto writing and touring more than directing, Chasing Amy (1997) is a prime example of why Kevin Smith is considered a hero of the DIY indie movement.

Sweet Sixteen (2002) – Unthank Review

The Ken Loach directed Sweet Sixteen (2002) follows Scottish Youngster Liam (Martin Compston) as he comes of age in working-class Greenock and attempts to have a normal life for him and his family when his mother gets out of prison. He does this by getting involved in drugs, working his way up the hierarchy so he can earn enough money to get them a decent home.

In his first acting role, Compston gives an intense and convincing portrayal of young Liam, forced to grow up quicker than his years allow and take on the role of provider. His performance runs the gamut of intense anger to extreme vulnerability as his life slowly but surely spirals out of his control.

The script and acting are typically Loachian, with a naturalistic feel to the dialogue and events, however this falls on the more plot orientated spectrum of his body of work, with Liam progressing through a clear and sadly inevitable arc by the end of the film.

The depiction of working-class Greenock is completely convincing, and Liam’s progression to drug dealing is an unfortunately accurate portrayal of reality. Along with a strong supporting cast of Scottish characters, Sweet Sixteen (2002) is an affecting and at times heartbreakingly realistic portrayal of life in the Scottish working-class, and another extremely strong entry into Ken Loach’s already impressive body of work.

Review: “Body of Lies” (2008)

Leonardo DiCaprio plays the man in the middle in Ridley Scotts action thriller Body of Lies (2008), caught between the CIA and Jordan intelligence as he tracks down a powerful terrorist leader responsible for ongoing attacks across Europe and America.

The film moves along at a slick pace, jumping from location to location, situation to situation and ties are formed and destroyed from scene to scene. DiCaprio does a good job of holding the film together as the young upcoming agent looking to make his mark in the region, and Russell Crowe is almost unrecognisable as his arrogant, family-man/CIA overseer who continually interferes in fragile situations. The movie also does well at illustrating the complexity of the situation it is attempting to depict, and although the main thrust is the hunt for a major terrorist leader, not everything is simply painted as black and white. This is a film about relationships and information, and the way in which people can be manipulated and the truth distorted.

Body of Lies (2008) is a tense, thrilling and visually arresting fictional look at a situation that is still ongoing, and does an effective job of showing the cultural, political and moral complexity of a horrible ongoing conflict. However, the film doesn’t tread into too serious territory and remains unbelievable enough to remain an enjoyable, although somewhat more serious than most, action movie.

★★★☆☆

Review: “The Imitation Game” (2014)

During the Second World War, a group of scientists and cryptographers led by Alan Turing (Benedict Cumberbatch) devised a method of decrypting coded German military messages, effectively shortening the length of the war by two years and saving an estimated fourteen million lives. After breaking the German “Enigma” machine, the group had to remain in total secrecy so as not to alert the Germans, and their immense contribution to the war effort would remain unknown for almost fifty years.

The Imitation Game (2014) tells their story, or more specifically the story of Alan Turing (Benedict Cumberbatch, in arguably his best role to date). Socially awkward (potentially autistic but this is never explored), immensely intelligent, Turing is the prototypical outsider, who unwittingly alienates himself from everyone around him. However, his genius is so great he devises a machine which can discover the settings for a stolen Enigma device which will allow the allies to discover what the Germans are planning.

The main thrust of the narrative consists of your basic war thriller, with a race against time to stop the Germans before they bring down a free Europe and place it under the tyranny of the Third Reich. Although, instead of guns, tanks and daring do, we have theories, mathematics and crossword puzzles. It’s a testament to the writing and acting that although very little of the war is shown (other than the aftermath as the team fails to prevent attacks) there is still a true sense of urgency as Turing’s team race toward a solution.

As this is also a true story based on real events and people, it is important that the audience get a real sense of who Alan Turing was as a person, rather than just showing his deeds. Benedict Cumberbatch is fantastic as the troubled mathematician, at times funny, and also genuinely heartbreaking as Alan’s loneliness and levels of suffering are laid bare. The film also does a good job of portraying the deplorable social situation in Britain at the time as after his efforts in the war Alan is convicted of indecency for being a homosexual and given the “option” of either jail-time or chemical castration, after a year of the latter he committed suicide. It’s commendable that this particular aspect of Alan’s life was given screen-time, as the film could have easily focused only on his work with Enigma, and is a stark reminder that although Britain was fighting Fascism abroad, it was still unjustly persecuting its citizens at home.

The Imitation Game (2014) is a highly enjoyable and slightly unorthodox World War II thriller, with more of a focus on brains than brawn. The lead performance from Benedict Cumberbatch is enthralling as he fully inhabits the role of mathematic genius Alan Turing, giving an emotional and heartbreaking performance of a man who played a major role against worldwide persecution, but couldn’t escape it at home.

★★★★☆

Review: “Common” (2014)

Joint enterprise, or common purpose (which the film takes its title from) is the form of common law where in the case of a serious assault or murder, all parties involved are equally culpable, not only the individual who committed the killer blow. This is the focus of Common (2014), which explores whether or not this particular process actually leads to justice, or if it merely implicates mostly innocent parties.

Not wasting any time, the Jimmy McGovern scripted and David Blair directed Common (2014) immediately gets into the action as the opening scene sets up the premise for the film. Young and naive, Johnjo O’Shea (Nico Mirallegro) inadvertently becomes the getaway driver to a fatal stabbing at a local pizzeria after being invited out by his cousin, and in turn gets charged under joint enterprise.

Thus begins a gritty and effecting drama about guilt, responsibility and the idea of what it means to be truly innocent. The film is split between the trials of young Johnjo and the grieving parents of the murdered boy, both sides victims of a crime they had no direct involvement in but which is tearing their worlds apart.

Although overly sentimental at times, the film does a good job at showing the dangers of this particular legal process, and in the end it is clear where the filmmakers condemnation lies. Nivo Mirallegro does a good job of conveying Johnjo’s naivety and vulnerability, however his stoical endurance is a little far-fetched, its hard to believe other seventeen year olds thrust into this particular situation would accept their fate so readily. The rest of the cast, made up of British actors, also does a good job, all giving strong and believable performances that keep the film rooted in realism and stopping it from spilling into melodrama.

Although the spark that sets the drama off is the fatal stabbing of a young boy, this is a film about a serious legal issue which requires attention. Like other British works which have come before it (most notably Cathy Come Home (1969)) Common (2014) is attempting to raise awareness of a serious issue, and in the process provides us with a solid piece of drama which still lingers in the mind after the credits have rolled.

★★★☆☆