MARKED MOVIES

Director: Steve McQueen.
Screenplay: Steve McQueen, Abi Morgan.
Starring: Michael Fassbender, Carey Mulligan, James Badge Dale, Nicole Beharie, Lucy Walters, Alex Manette, Hannah Ware, Elizabeth Masucci, Rachel Farrar, Mari-Ange Ramirez, Robert Montano.

In 2008, director Steve McQueen made his directorial debut with the devastating drama “Hunger” about the last six weeks in the life of Irish hunger striker Bobby Sands. Michael Fassbender was his lead in that unflinching portrayal. Three years later, they reunite for this equally powerful drama about sex-addiction.

Brandon Sullivan (Fassbender) is a successful New York businessman. He leads a comfortable lifestyle, including that of a bachelor, where he spends most of his evenings sleeping with different women. It all seems normal on the surface but the unexpected arrival of his sister Sissy (Carey Mulligan) upturns a deeper side to him. It appears that his sexual appetite may be more serious than he’s been willing to confront.

Michael Fassbender has been steadily building a reputation for himself since he came to attention in McQueen’s debut and followed it up with consistent turns in Andrea Arnold’s “Fish Tank” and Quentin Tarantino’s “Inglorious Basterds“. He’s an actor in very high demand at the moment and judging by this performance alone, you can see why. This is as good as any he has delivered. If not better. Sometimes actors go above and beyond the call of duty; Harvey Keitel in “Bad Lieutenant” and Charlotte Gainsbourg in “AntiChrist” are a notable couple. Fassbender can be, courageously, included amongst them. He exposes himself in every sense of the word and delivers the most fearless and vulnerable performance of 2011. His portrayal of Brandon is a deeply complex piece of work. He’s an enigmatic character that grooms and dresses immaculately. He takes pride in his appearance but not his actions. He cannot connect with people on an intimate level and as a result, develops a voracious appetite for sexual encounters and material. His lack of connection also extends to his emotionally fragile sister, who so obviously needs his help and it’s the very arrival of his sibling that brings his shame to the forefront. His use of pornography, prostitutes and masterbation can’t be hidden anymore. This is when he has to confront his own self-loathing and sexual addictions. His encounters are all meaningless and any that do show meaning, he can’t perform. This is a truly harrowing character study of the failure or inability to truly connect with people – especially in the times and congested environments we live in. Despite the numerous sexual encounters, there is nothing erotic about this film. It’s purely focused on the turmoil of one man’s spiralling journey of self-harm. Carey Mulligan cannot go unmentioned for her emotional performance here also. Her role is not as in depth as the protagonist and she has less to work with but she’s the catalyst for the unravelling of the film and brings a much needed heart into the mix.
McQueen’s direction is near flawless and meticulous in it’s detail. He takes a step back from his actors and captures moments in facial expressions and eye contact. Words don’t always need to be said and if anything, it’s all the better for it. He allows an intelligence from his audience and he’s aided by some stark and clinical cinematography by Sean Bobbitt, in capturing the emptiness in these damaged peoples lives.
I have now lost count of the amount of film’s and performances of 2011 that were, unforgivably, overlooked at the Oscars. This is most certainly one of them. The title of this film should be shouted continuously in the faces of the Academy voters. It’s a disgrace it was omitted.

This may prove to be a difficult or controversial film for some people. It’s certainly not for the prudish or sensitive of heart but I, for one, think it’s essential viewing. A powerful and provocative collaboration between Steve McQueen and Michael Fassbender has developed and I can only hope they continue to make more films in the future.

Mark Walker

Director: Oren Moverman.
Screenplay: James Ellroy, Oren Moverman.
Starring: Woody Harrelson, Robin Wright, Ned Beatty, Anne Heche, Cynthia Nixon, Sigourney Weaver, Ice Cube, Ben Foster, Steve Buscemi, Brie Larson, Audra McDonald, Robert Wisdom, Jon Bernthal, Jon Foster, Stella Schnabel.

“L.A. Confidential” was an exceptional adaptation of hard-boiled, crime writer James Ellroy’s novel. Most other adaptations tend to be flawed. “Dark Blue“, “The Black Dahlia” and “Street Kings” had decent material but didn’t grip as well as they should have. This is another that suffers from a similar problem.

In 1999, the Rampart division of the Los Angeles Police Force is rife with corruption. Amongst, the main culprits is ‘Date Rape’ Dave Brown (Woody Harrelson). He’s a cop that plays by his own rules and lives by an old-school code. His reputation precedes him and is heightened even further when he’s caught on video assaulting a driver who crashes into him. To try and thwart the attention of the media and ever increasing public frustration, his superiors suggest retirement. Dave refuses and attempts a legal case but it only draws him deeper into his murky past.

Three years previously, Woody Harrelson, Ben Foster and Steve Buscemi were all involved in Oren Moverman’s brilliant directorial debut “The Messenger“. They all assemble again for this but where Moverman showed a skilful subtlety in his debut, he decides to get a bit flashy with this one. That’s his first mistake. He teases a powerful performance from Harrelson – like he did before – but he doesn’t utilise Foster or Buscemi the way he should. That’s his second mistake. And as if that’s not enough, he has James Ellroy himself, co-writing the screenplay with him, yet the focus is on one character – rather than tapping into Ellroy’s abilities in convoluted narrative arcs. Three strikes and you’re out Oren. That being said though, the character of Dave Brown and Harrelson’s strong central performance provide enough powerful material to hold your interest. There’s a real intensity to the man and Harrelson delivers the perfect balance of a man teetering on the brink of the immorality. He received an Oscar nomination for “The Messenger” but I actually think this is a better performance. Moverman doesn’t do him any favours though. He employs a flamboyant handheld approach that’s so distracting that is verges on awful and it detracts from the drama. A good director shouldn’t be noticed before his performers. Speaking of which, the supporting cast is impressively assembled but few get any substantial screen time, leaving the descent of Dave Brown the film’s main focus, much in the same way as Harvey Keitel’s “Bad Lieutenant“. Where that film succeeded though was in having the courage of it’s convictions. This threatens to but draws to a less than satisfactory conclusion.

If it wasn’t for Harrelson, this film wouldn’t have worked as well as it does. Moverman rightly received plaudits for his debut but he has gotten a bit ahead of himself here. Hopefully he’ll learn his lesson for next time.

Mark Walker

Director: Jason Reitman.
Screenplay: Diablo Cody.
Starring: Charlize Theron, Patton Oswalt, Patrick Wilson, Elizabeth Reaser, Mary Beth Hurt, Collette Wolfe, Jill Eikenberry, Richard Bekins, Emily Meade, Brady Smith, Louisa Krause, Jenny Dare Paulin, John Forest, J.K. Simmons.

Following the success of their previous collaboration “Juno“, director Jason Reitman and writer Diablo Cody reunite to bring us another slice of small-town American life. Whether or not is as good as their last outing, depends on your expectations.

Mavis Gary (Charlize Theron) is a pathological, self-absorbed bitch. She’s already divorced, and dependent on alcohol as she tries to maintain her job as a ghost-writer for a failing series of adolescent books. Having received an e-mail, one day, of news of her ex-boyfriend Buddy (Patrick Wilson) becoming a new father, she heads for her home town determined to reclaim him back from his wife Beth (Elizabeth Reaser) and newborn baby. Mavis will stop at nothing but ultimately, it’s herself that she’s harming most.

Since her Oscar winning role in “Monster” in 2003, Charlize Theron has had a couple of notable roles but nothing she could really sink her teeth into. This, however, is the best role she’s had since then. It’s a character she grabs with the scruff of the neck and delivers an excellent and potent performance. Other than her though, I didn’t find much else to write home about. Maybe this was because my expectations were too high.? I really enjoyed “Juno” for it’s likeable characters and quirky sense of humour and I expected much of the same here but there’s very little humour involved. It’s actually more of a down-beat character study, dealing with failed aspirations, depression and a path of self destruction. It doesn’t make for happy viewing and also doesn’t shed much of a positive light on the choices the characters have made in life. To achieve happiness in life is a matter of relevance. At least, that’s what I think the message was supposed to be but it could have at least had a character that embodied this. Sure, Buddy and Beth seem like a happy couple on the surface but there’s a bit of ambiguity involved. Patton Oswalt delivers some light comic relief as Mavis’ new friend and drinking buddy Matt but despite some lighthearted moments from him, he’s also quite a tragic character. What chance have you got, when your comic-relief is even struggling in life? As I mentioned, maybe if I was prepared for the down-beat approach beforehand, I’d have settled more into this. It’s not a bad film, by any means, but it is a bit sluggish and disheartening.

I’ve heard this described as a ‘tragi-comedy’. It’s a good description but I think the emphasis is on the former rather than the latter.Theron is on excellent form and the real highlight here but the material is a little tough to swallow. It has moments of brilliance but too few to fully satisfy.

Mark Walker

Director: Paddy Considine.
Screenplay: Paddy Considine.
Starring: Peter Mullan, Olivia Colman, Eddie Marsan, Paul Popplewell, Ned Dennehy, Samuel Bottomley, Sally Carman, Sian Breckin.

Paddy Considine made a name for himself with dynamic performances in director Shane Meadows’ British, working-class drama’s “A Room For Romeo Brass” and “Dead Man’s Shoes“. Those were two great films that benefited from his intense input. Now, as a director himself, he makes his debut behind the camera and adds another fine addition to the realism and style he’s accustomed to acting in.

Joseph (Peter Mullan) is a widower living on a housing estate and prone to fits of uncontrollable rage. One day, in a charity shop, he meets devout Christian, Hannah (Olivia Colman), who offers to pray for him. Hannah has her own problems at home though, as she is being physically and emotionally abused by her husband James (Eddie Marsan). Joseph offers to help her, in return for her kindness, and allows her to take refuge with him but the consequences of violence still linger despite the chance of redemption.

When British cinema is afforded the best of it’s talents, it can deliver some very hard-hitting drama’s. This can be included amongst the finest of recent years, or any year for that matter. It’s raw, emotional storytelling, anchored by excellent central performances; Peter Mullan has rarely been better as a damaged and brutal man, full of inner rage and Eddie Marsan is perfect as an abusive and cowardly creep. It’s Olivia Colman – who’s better known from the Simon Pegg/Nick Frost TV comedy show “Spaced” – that’s the real revelation though. She is absolutely superb. Going on this evidence, Colman thoroughly deserves more dramatic roles in future. It’s quite simply, one of the finest female performances from 2011. Speaking of which, could somebody please explain why this was, yet another, quality drama with searing performances, that was omitted when the Academy awards were being dished out? Proof, yet again, that films of this type are so often overlooked across the pond. Thankfully though, Considine and Colman recieved Bafta’s for their outstanding work. Having already proved his writing potential with “Dead Man Shoe’s” this is another powerful drama that augers very well for Considine’s writing and directing future. If he continues to deliver work like this, he can consider himself amongst the great UK auteurs like Ken Loach and Mike Leigh.

A stark and depressingly ferocious film that also has heart and a real sense of hope. Like most films of this type, it can be difficult viewing but also worth it. British, working-class “Kitchen-sink” drama’s have rarely been better.

Mark Walker

Director: George Clooney.
Screenplay: George Clooney, Grant Heslov, Beau Willimon.
Starring: Ryan Gosling, George Clooney, Philip Seymour Hoffman, Paul Giamatti, Evan Rachel Wood, Marisa Tomei, Jeffrey Wright, Max Minghella, Jennifer Ehle, Michael Mantell.

The last time George Clooney stepped behind the camera to direct a political drama – with “Good Night And Good Luck” – he delivered a skilful and vivid dramatisation. This time, with a star-studded cast in the line-up, it looks like he just might do it again. Unfortunately, this doesn’t live up to expectations and ends up, quite a frustrating, indifferent attempt.

Stephen Myers (Ryan Gosling) is an idealistic young man, helping Governor Mike Morris (George Clooney) in his bid for the Presidency of the United States. However, he gets involved in a relationship with campaign volunteer Molly Stearns (Evan Rachel Wood) and gets caught between rival campaign managers Paul Zara (Philip Seymour Hoffman) and Tom Duffy (Paul Giamatti), which show him that candidate Morris isn’t as squeaky clean as he makes out. Before he knows it, Myers is involved in a dangerous game of sex, betrayal and ambition.

“The Ides of March” is a (commonly used by Shakespeare) reference to the slaying of Julias Caeser, who was stabbed to death by a group of conspirators, lead by friends, Brutus and Cassius. Using this term as it’s title, you would imagine a film about politics will have some double-crossing, on the level that met Caeser, but on this evidence… not quite enough. Right from the get-go we are thrust into a political campaign and the jargon that goes along with it. It takes a little time and patience to keep up with it’s constant flow of name dropping and rapid introduction of numerous characters and quite frankly, you’d be forgiven for finding it rather dull. Within the half-hour mark, it threatens to sink under it’s own weight. However, once a bit of corruption is thrown into the mix, it steps up a gear and delivers some great dramatic tension. Clooney is a very fine actor but he wisely takes a back seat in the acting stakes, allowing Gosling to be the front runner, with Hoffman and Giamatti biting at his ankles. It’s these three, bitterly fighting it out on the campaign, that bring the drama. When Clooney does show face again, it’s adds extra spice to an already boiling pot of corruption and double-dealing. But just when the film finds it’s feet, it draws to it’s conclusion. The performances are all strong by the aforementioned actors but the talented likes of Marisa Tomei and Jeffrey Wright are wasted in thankless roles. Ultimately, the film masquerades as political intrigue but the message that comes across is mainly about the corruption of youth and idealism.

A brilliantly assembled cast are given some juicy roles and they play them well, but like politics itself, it can be too loaded at times and leaves you feeling dissatisfied.

Mark Walker