MARKED MOVIES

Director: Jodie Foster.
Screenplay: Kyle Killen.
Starring: Mel Gibson, Jodie Foster, Anton Yelchin, Jennifer Lawrence, Cherry Jones, Riley Thomas Stewart.

By now everyone will have heard of Mel Gibson’s real life troubles involving drunken rants and abusive behaviour. Some would even have thought that it could have led to his career being finished. Despite these personal problems though, he has bounced back with the perfect acting vehicle.

Walter Black (Gibson) was once a successful businessman with a happy family who now finds himself clinically depressed and ready to end it all. One night he finds a discarded puppet beaver which when it ends up on his hand, takes over his life and begins to turn his fortunes around.

First off, it’s hard to forget about Gibson’s personal antics and in a lot of ways, it has a major bearing on the film itself. That being said though, his performance is mesmerising and the best he has delivered in his career so far. It’s an award calibre show but will no doubt be scorned by the Academy. This is a film that has emotional and dramatic weight but suffers slightly in the strange feeling that there should be humour. For some reason, when a puppet is involved you expect hilarity but this is not that type of film and credit must go to Gibson for his restraint. There’s no mistaking the serious depth this film carry’s or his commited performance. It’s a sensitive exploration of mental health with a premise that, at first, sounds ridiculous and laughable but is actually heartfelt and delicately handled by director Jodie Foster. The sub-plot involving Anton Yelchin’s intellectual speech writer and Jennifer Lawrence’s cheerleading graffiti artist is a little strained and hard to accept and Foster’s bland struggling wife is very underwritten also, but when focused on Gibson’s clinical depression it’s a marvellous film. Considering this was originally planned as a Steve Carell or Jim Carrey show, you can easily see how this could have been. I’m glad they didn’t go down that road and even more pleased that they serendipitously picked the perfect actor, at the perfect time, in a perfect role and Foster deserves most of that credit for banking on her troubled co-star.

An odd but thoroughly engaging little film that’s affected by the leading actor’s personal problems and ability to transcend them and face the role of a lifetime. Gibson’s demons certainly overshadow the film and I suppose we’ll never know for sure, whether it would have been better with, or without them. I sway towards them being a benefit.

Mark Walker

Director: Ryan Fleck.
Screenplay: Ryan Fleck, Anna Boden.
Starring: Ryan Gosling, Shareeka Epps, Anthony Mackie, Deborah Rush, Jay O. Sanders, Tina Holmes, Denis O’Hare, Monique Curnen.

Ryan Gosling is one of those actors that is in danger of his talents being overshadowed because he’s seen as eye candy for the female cinema going public – much in the same way that Brad Pitt has suffered. However, if he keeps producing high calibre performances such as this, then there will be no denying why he’s on screen in the first place.

Dan Dunne (Gosling) teaches in a poor school where his unusual approach engages the pupils. But out of school, frustration fuels his drug habit. One night troubled student Drey (Shareeka Epps) chances upon him while he’s high on crack cocaine, and a bond is forged.

It’s unfair to praise a film based solely on one person’s performance, especially when the writing, directing and supporting actors all do their fair share. But this is a film that’s hard to see beyond the lead actor. Gosling is the real deal; nuanced and edgy with blink-and-you’ll-miss-it subtlety. He’s an actor that possesses the unique ability to say very little but express so much. Full of subtle ticks and mannerisms, to convey his feelings. In this case, a struggling addict trying to function in his day-to-day life. It’s another marvellous and understated performance that garnered him a well deserved Oscar nomination – unlucky to lose out to Forest Whitaker’s grandstanding in “The Last King of Scotland”. This is a film of many layers, and writers Anna Boden and Ryan Fleck cleverly introduce the theory of Dialectics – the process of change through opposing forces. Gosling and Epps – teacher and pupil – are exactly these opposing forces and only through each other will they ultimately find salvation. The first time I saw this, I enjoyed it for it’s indie style but missed the depth it had and didn’t really get what all the fuss was about. On second viewing though, it’s quality really stands out. This is a nourishing and deliberately paced slice of life that’s competently directed by Ryan Fleck in his first feature.

A rapturous round of applause for all involved in this beautifully crafted and wonderfully acted gem.

Mark Walker

Director: Henry Bean.
Screenplay: Henry Bean.
Starring: Ryan Gosling, Summer Phoenix, Billy Zane, Theresa Russell, Glenn Fitzgerald, Ronald Guttman, Henry Bean.

Three years previous to this, director Tony Kaye and star Edward Norton addressed white supremicist racism in “American History X”. This shares similiar themes but focuses more on the hatred toward Jews. The real similarity between the films though are blisteringly powerful performances from both lead actors.

Daniel Balint (Ryan Gosling) is a yeshiva-educated young Jewish man in New York who rejects his heritage and chooses to become a neo-Nazi skinhead. His passion is frighteningly real which leads to looming dangers for himself and his community.

The comparisons are inevitable and although both powerful and controversial films in their own right, with “American History X” and “The Believer” it’s the tour-de-force performances from Edward Norton and Ryan Gosling that really take centre stage. Gosling is no less effective than Norton’s Oscar nominated turn and after seeing this, it’s getting to the stage that it seems there’s no limits to his acting range. He is this film. Don’t get me wrong, writer/director Henry Bean crafts some strong and intelligent dialogue, but it’s Gosling’s delivery of anti-semitic vitriol that packs the real power. The problems it faces are having a less than par supporting cast and a made for television budget. The flaws show but it’s still a savage examination of anti-semitism and one worthy of attention.

A brave film anchored by a bold and brave performance. It’s easy to see why this put Ryan Gosling on the map, he delivers a ferocious piece of work.

Mark Walker

Director: Kirk Jones.
Screenplay: Kirk Jones.
Starring: Robert DeNiro, Drew Barrymore, Kate Beckinsale, Sam Rockwell, Lucian Maisel, Damian Young, James Frain, Melissa Leo, Katherine Moennig, James Murtaugh.

It has now seemingly reached the time where one of our greatest screen actors is no longer able to command certain roles. Occasionally though, an older, more mature role will surface which can still give a reminder of their talents. This is that role serving Robert DeNiro.

Recently widowed, retired wire factory worker Frank Goode (DeNiro) realises all the contact he had with his four children was organised by his wife. When they all opt out of his planned family reunion, Frank takes it on himself to embark on a road trip to see his kids. As he does, he discovers they have been keeping secrets from him.

First off, this is a remake of the 1990 Italian film with Marcello Mastroianni, and as far as these types of films go, it’s nothing new. It’s actually quite lightweight material and given the subject you’d be forgiven for expecting a bit more of a punch behind it. It doesn’t wholeheartedly deliver the power it should. What it does do however, is achieve in giving DeNiro center stage. It’s great to see him being the main attraction again and a real pleasure to spend time with him when he’s not playing second fiddle to anyone. There has always been something personal about watching DeNiro act. His ticks; his smile; his grimace and his lack of eye-contact. They are all here but what’s most refreshing is seeing him play the role of a retired older man in his twilight years. Now accepting his age. Over the years DeNiro has delivered so many eclectic characters that most movie goers will have identified with at least one of them along the way. This is another fine performance and ultimately, he’s the highlight of the film. The supporting actors are good but are given very little to work with and the likes of Sam Rockwell would have chewed up a meatier role. Sadly he’s not provided with it. There are some lovely moments peppered throughout, as well as some pathos, but it doesn’t quite rise above anything more than a ‘likeable’ status.

A poignant little family drama that has a nice feel for time and benefits from a strong performance by DeNiro as the heart and soul. It just doesn’t offer anything original.

Mark Walker

Director: Andrea Arnold.
Screenplay: Andrea Arnold.
Starring: Katie Jarvis, Michael Fassbender, Kierston Wareing, Harry Treadaway, Rebecca Griffiths, Sydney Mary Nash.

Director Andrea Arnold’s debut “Red Road” was a raw and vivid portrayal of a working class Glasgow area. Now she takes us to a working class Essex area with just the same impact and realism.

Ostracised by her friends and excluded from school, Mia (Katie Jarvis) is a lairy teenager living in a high-rise block with her mother and younger sister. One day her mum brings home a charismatic stranger (Michael Fassbender) who shows genuine care for the girl but may also care in ways that will add to already hothouse living conditions.

Directors Mike Leigh and Ken Loach are no stranger to exploring dysfunctional families in working class drama’s, but now there are several quality directors appearing with voices (and eyes) of their own. Shane Meadows, Peter Mullan and Lynne Ramsey are a few and now Andrea Arnold can count herself as one. This is a simmering drama full of anger, frustration, sexual tension and desire. Katie Jarvis (in her film debut) as the testy teenager, who can’t quite contain her emotions, is marvellous in the lead role. Aided by an enigmatic Fassbender. The chemistry between them is key to the whole film working and they both deliver excellent performances. Jarvis has yet to come into her own with further work but it’s easy to see why Fassbender is now in high demand. Full of suggestion and supression, this is an intense sexually charged film that director Arnold handles deftly.

As British ‘kitchen-sink’ drama’s go, this can proudly include itself among the finest and Andrea Arnold is without doubt a director for the watching. Powerful stuff.

Mark Walker

Director: Samantha Morton.
Screenplay: Samantha Morton, Tony Grisoni.
Starring: Molly Windsor, Robert Carlyle, Susan Lynch, Lauren Socha, Karl Collins, Craig Parkinson, Andrea Lowe, Johann Myers, Darren O. Campbell.

This directorial debut from actress Samantha Morton was first aired on television. Due to it’s success, it was subsequently released theatrically and deservingly so. This is a film that deserves a wider audience and deserving of the acclimations it recieved also.

The unloved of the title is 11 year old Lucy (Molly Windsor). She has a distant mother (Susan Lynch) who couldn’t care less and a father (Robert Carlyle) who beats her. It’s not long before she is taken into care and the lonliness she experiences, when she is supposedly being supported, is just as damaging and demoralising as her life at home.

Straight away we are given a glimpse of the tumultuous life of Lucy in a harrowing opening scene with Carlyle on typical edgy and threatening form as her physically abusive father. Following on from this we are given a candid portrayal of childhood within the British care system and a magnetic and heartbreaking performance by young Molly Windsor. Without uttering a word, she manages to convey her lonliness and suffering by just a glance. This is loosely based on Samantha Morton’s own childhood and at times I had to remind myself that it wasn’t her I was watching onscreen. It’s a deliberately paced and beautifully shot film, not without some haunting moments and shows great promise for the two time Oscar nominated actress behind the camera. For as little screen time as he gets, Robert Carlyle still manages a magnificent and multi-layered portrayal of a downtrodden and abusive alcoholic. This is a film that is certainly bleak and may be off putting to some, but underneath it all is a resilient beating heart and despite the odds, still manages to show positivity. A few loose ends went without satisfactory conclusions but other than that, this is a film where the performances and harrowing nature linger long after viewing it.

A persistantly vigorous film and a highly emotional experience. Sensitive, realistic dramas don’t come much more powerful than this.

Mark Walker