MARKED MOVIES

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: Robert DeNiro.
Screenplay: Eric Roth.
Starring: Matt Damon, Angelina Jolie, Robert DeNiro, Alec Baldwin, John Turturro, Billy Crudup, William Hurt, Timothy Hutton, Tammy Blanchard, Michael Gambon, John Sessions, Keir Dullea, Gabriel Macht, Martina Gedeck, Joe Pesci.

Robert DeNiro’s second directorial effort, 14 years after his debut “A Bronx Tale”. He again shows that he’s as good a director as he is an actor but unfortunately, it’s the script that let’s this potential classic down.

In 1961, after the Bay Of Pigs fiasco, CIA agent Edward Wilson (Matt Damon) tries to learn who leaked word of the planned invasion of Cuba. He recalls his long service with the Agency, and ponders the failure of his marriage to Clover (Angelina Jolie).

Having been involved in some of the best films ever made and worked with some of the best directors; Scorsese, Leone, Coppola, Bertolucci to name a few. You can see where DeNiro’s ambition and scope has come from with this sprawling, convoluted espionage film. First off, he amasses a very impressive cast playing out over a number of years and in split-time frame structure. His attention to detail and eye for capturing time and place is astutely done and wonderfully captured, and it certainly doesn’t lack ambition. It’s heavily based on fact and covers a lot of ground; the origins of the CIA; Nazi sympathisers; the invasion of Cuba; the cold war conflict with the Soviet Union, as well as Wilson’s strained relationship with his wife. Despite all this though, the film is surprisingly lacking in excitement. At times it borders on boring. It’s a real shame as everyone involved puts in a good shift but the major problem is the main character. He’s so stoic and impassive that it’s hard for Damon to deliver a performance that’s anything other than awkward and expressionless. It’s a difficult character to identify with and he’s hardly ever off screen, which is a bit of a slog at a running time approaching 3 hours. There are still many powerful scenes throughout though and Robert Richardson’s cinematography is splendid but despite the ambition also shown in Eric Roth’s script, it doesn’t quite come together as an absorbing or gripping spy thriller, when really it should.

Considering the talent involved, this is listless and ultimately frustrating. I really want to rate this higher – as I found plenty to enjoy – but can’t bring myself to do so.

Mark Walker