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Lincoln – Day-Lewis takes down slavery
Spielberg has wanted to make his Lincoln film for a very long time, but the core ingredient; an actor to play the man himself, proved difficult to get on board. Liam Neeson was his original choice but as he grew older Spielberg doubted his decision and turned to Daniel Day-Lewis. Day-Lewis turned down the part, but Spielberg insisted, and sculpted the script into a film Day-Lewis couldn’t turn down again. Day-Lewis accepted and Spielberg has made a fine film. His decision to trim down the biography to centre almost entirely on the abolishment of slavery elevates the film above the usual tale of a good man, and instead we get an intricate insight into the battling parties of Congress and the President’s frustration at trying to do what he believes is the right thing.
President Abraham Lincoln (Daniel Day-Lewis) wins a second term and sets out on an immediate path to pass the 13th Amendment which will abolish slavery. With the brutal civil war still killing thousands of Americans the President is urged to concentrate on negotiations for peace with the Confederate, and finish his term on a high instead of chasing an Amendment that few see as standing a chance of being passed. Enlisting the help of a group of operatives to swing voters in the house, Lincoln carries on with his quest that will change a country forever.
Day-Lewis as always is fantastic, impossible not to look and listen to he portrays Lincoln as a charismatic and determined old man, who won’t take no for an answer when it comes to the Amendment. His introductory scene where he addresses two soldiers is a gem of filmmaking and acting combined and one of the best character set ups in recent cinema. Spielberg is surprisingly restrained making a point of Lincoln not looking like a period piece. All the costumes and make up is there but the director doesn’t let us dwell on them, emphasising the importance of the words being spoken.
By not making a birth to death biography of the character the film breathes more in the one setting and period of the man’s life. Occasionally the film does distract from the Amendment and delves into Lincoln’s relationship with his son (Joseph Gordon-Levitt) and his wife (Sally Field) and unfortunately after the real story ends the film still gives us the ending we know this man had. These avenues are touched on as if ticking a box but never fleshed out enough to make them worthwhile. Had they stayed on the cutting room floor and the film stayed solely in Washington it could have been a classic. Still though, what remains is a near-perfect piece of filmmaking.
At two and a half hours much too long but with Day-Lewis and Spielberg at their best Lincoln is a film not to be missed.
4 out of 5
Zero Dark Thirty – Bigelow now owns the US army
Zero Dark Thirty is often unsure what it is trying to be but when it does come together is an excellent thriller. Kathryn Bigelow’s follow up to The Hurt Locker had a rushed production after the killing of Osama bin Laden and at times is awkward and its morals questionable, but for the most part Bigelow makes a film that although not as objective as it would like to think it is, is always entertaining.
Based on actual events, Maya (Jessica Chastain) hasn’t given up on finding Osama bin Laden. Working from Pakistan with the CIA, her and her colleagues get involved in stings, interrogations and torture, all with the aim of finding the one lead that will bring them to bin Laden. We all know where the film will end up, but Bigelow gives an insight into the years of work that led to the capture of the most wanted man in the world.
The film gets a lot right, particularly the reliable Chastain who gives an excellent performance as the woman ignorant to anything else bar finding Osama. We don’t get to know her outside of work, such is the character, but Chastain still makes Maya compelling. Bigelow paces the film well, with the nearly three hours running time flying by.
Much has been made about the films depiction of torture, some saying its pro torture some saying it’s the opposite. The torture scenes feel real, and are uncomfortable to watch, but unfortunately any pro-torture lobbyists will see this as confirmation that torture is the only way to deal with your enemies. It show’s torture as a necessary evil, that bar a few long looks in the mirror doesn’t really seem to guilt the CIA. Bigelow’s film is completely from a Western perspective and at no time does it offer sympathy to al-Qaeda or explain their motivations, nor does it show innocent lives ruined on the Middle Eastern side, despite an excessive recreation of the London bombings to fuel Western sympathies. It further demonises the Middle East, and shows little of life outside of terrorism for its people.
Zero Dark Thirty is entertaining, there’s no question about that, Bigelow knows how to make a good thriller. Great entertainment, but don’t read too much into the morals of it all.
3 out of 5
Django Unchained – not Tarantino’s strongest but still a solid film
After changing history as we know it with ‘Inglourious Basterds’, Tarantino moves his gaze from World War II to slavery, bringing his vision of the era to our screens. It has the Tarantino trademark violence, slick soundtrack and homages to his favourite films. It even has two fantastic performances from the returning Christopher Waltz and the very out of typical casting Leonardo DiCaprio. It’s a very enjoyable film, but is kept from being a classic by a lack of Tarantino’s trademark dialogue.
Waltz plays Schultz, a German bounty hunter in 1858 Texas. After acquiring enslaved Django (Jamie Foxx) to help him identify a troupe of criminals, the two form a bond and start to work together. Schultz learns of Django’s lost wife and agrees to help rescue her from Candyland, a notoriously ruthless plantation run by Calvin Candie (Leonardo DiCaprio) with his aid Stephen (Samuel L. Jackson).
Waltz is excellent, making Schultz the real hero of the film. He is impossible not to root for with his charm and intelligence. Foxx gets by when on screen with Waltz, with the duo making a likeable team. When they separate the holes in Foxx’s performance start to show, and a speech towards the end that should have been his characters moment to shine is dull and forgettable. Luckily he doesn’t get too much time on his own, as DiCaprio and Jackson are memorable nemesis, with the chemistry between the two eerily real. Given the nearly three hour length of the film it’s a shame DiCaprio doesn’t get more screen time, as the real interest in the film comes from him and Waltz. More mind games between the two would have been welcome.
It is Tarantino’s least Tarantino film yet. It’s brave of him to step away from his own style but it is also sad to miss the memorable dialogue he is known for. Django’s a good film by any director’s standard, but knowing Tarantino is sitting behind the camera makes it frustrating as the flourishes he’s known for are absent. If anything Django could have benefited from a Kill Bill style split in two, as there seems to be enough barely explored tangents that could have made it a stronger story.
A Tarantino film is always welcome, and although not up to the standard of Basterds, it’s still a strong film. Hopefully he’s back again soon.
4 out of 5
Jiro Dreams of Sushi – even more raw tuna eating than Life of Pi
Jiro lives, breathes and dreams sushi. At 85 he still has passion for a difficult job that he has achieved so much in. His tiny restaurant in Tokyo doesn’t even have its own toilets, but Jiro’s sushi is so good it has received three Michelin stars, the highest award going in the restaurant industry. Director David Gelb interviews Jiro and those involved with his life, examining the workaholic and his trade. It may not be of much importance and bar a longing for sushi after the film is quite forgettable, but Gelb’s documentary is always entertaining.
Jiro’s sons were once his apprentices, working long hours in strict conditions for decades to achieve their sushi skills. His eldest son is next in line to take over Jiro’s restaurant, leaving him the hard task of equalling his father, while the younger son has opened his own restaurant, but still lives under the shadow of his father’s legend. Gelb’s documentary follows Jiro and his sons around as they collect the finest fish from the markets, massage octopus, prepare rice and serve customers. It’s entertaining and the chef’s passion for the food always comes across, as well as his tough views on life.
It touches on more serious issues, such as the overfishing of tuna and strict parenting, but never fully explores them. Gelb’s film works best as a day in the life of the restaurant, and could have done with cutting out some tangents it never delves deep enough into to make them worthy.
A good but not great documentary, but a must see for any sushi lover.
3 out of 5
Mea Maxime Culpa: Silence in the House of God – tough to watch but worth it
Documentaries are powerful tools as we see the affected people in front of the camera addressing us, their words hitting us directly. When the affected people are deaf victims of clerical child abuse signing their struggle for justice it hits us even more, and the real evil of taking advantage of such vulnerable people hurts. Mea Maxima Culpa: Silence in the House of God carries on HBOs good run of documentary film making, giving an insight into the cover up of sex abusers in the church and the frustrating lack of a sensible response from well informed people as high up as the Pope.
Directed by Alex Gibney, who now has an impressive CV of documentaries, the film (translates as ‘my most grievous fault’) has a shaky start as it opens with reconstructions that rely heavily on eerie music and lighting. Luckily this device doesn’t last long and soon the film lets the words of those involved explain, resulting in a much more powerful story. The film follows the young men abused by Father Murphy in a school for the deaf in Milwaukee into their adulthood as they struggle for justice. Gibney examines the case as it goes up the ranks of the Catholic Church, showing us how much the Vatican and the Pope really did know about sex abuse in the church and the lengths they went to cover it up globally, including here in Ireland.
One powerful scene sums the whole film up, when the now adult abusers confront Father Murphy. Father Murphy, who the Vatican refuse to excommunicate; instead shipping him from one school to another, tells the victims it was a long time ago and doesn’t matter anymore. Even his housemaid gets angry at the victims and defends Father Murphy. It is a shocking and frustrating scene to watch, seeing victims treated in such a disrespectful way when the abuser is given a comfortable life.
People will accuse the film as being anti-Catholic, and not giving enough of a voice to the good side of the church. Gibney tries to talk to the Vatican but they refuse, so any one-sidedness is their fault. A respected filmmaker like Gibney should not have been ignored by the church and was a waste on their side of a good platform to explain their actions.
It might not be fun to watch, but is extremely relevant and worth catching on release. It will make you think twice about people like John Paul II and the current Pope. Although not evil people they were cowards who chose to ignore the evil done by others, making themselves accomplices to evil.
The film shows room for honesty and goodness in the church, but not under the current structure. A film that will force both believers and non-believers to examine and truly question the Catholic Church.
4 out of 5
Mea Maxima Culpa: Silence in the House of God will be released in Irish cinemas in late February
Review of 2012
I’m being asked constantly ‘is there any film you don’t hate?’ I swear I’m not usually so negative on cinema, but 2012 has been a poor year. In a perfect world filmmakers would look back at the poor quality of films 2012 produced and try improve, but quite confusingly 2012 was a hugely profitable year for Hollywood, so ignore all lessons.
Avengers Assemble became one of the highest grossing films of all time, despite the fact it was incredibly dull. The Hobbit: An Unexpected Journey looks to be following in The Avengers footprints, again it being a poor film hasn’t deterred audiences. And Skyfall, a lazy Bond film that’s no fun, has got MGM back in the money.
It wasn’t all bad; The Dark Knight Rises was a lot of fun and deservedly made a lot of money. 21 Jump Street was another huge hit, deserved of its praise. And even Wes Anderson made a tidy profit, with Moonrise Kingdom making a nice sum for an indie film.
This was a hard list to compile for top 5 films of the year. Remember; only films released in Ireland in 2012 that I saw in the cinema are eligible.
Pure fun. Far from perfect but never dull, which is essential to all good comedies. Roll on the sequel.
4. The Raid
The entire cinema reacted to punches and kicks; you could hear people gasp with amazement. The Raid has set a standard for combat in films that will be hard to follow. The Dark Knight Rises was great to watch but the fights never felt near as real as The Raid.
3. Shame
Not an easy watch but a brilliantly crafted and executed film, with a performance from Michael Fassbender that hasn’t been matched since.
This one went under the radar and a lot of critics completely missed the point of the film, but I’ve re-watched it since and it really is as good as I first thought. Hunt it down and watch it.
There are films I’ve rated higher (Martha Marcy May Marlene) and films that are more important (A Separation) but Moonrise Kingdom is the first Wes Anderson film that I think EVERYBODY will get, and hopefully enjoy too. Another year this might have just about made the top 5, but in 2012 it gets a lot more coverage, and deservedly so as Anderson’s films have a habit of getting better when re-watched down the line.
Honourable mentions: Matha Marcy May Marlene, The Cabin in the Woods, Dredd, Argo, A Separation, Silver Linings Playbook
Guilty Pleasure of the year: The Shining re-released in all its glory!
And the worst: The Amazing Spiderman, This Must be the Place
The most overated films of the year: Skyfall, Avengers Assemble
Hopefully this is the last year I have to say this, let’s hope for a better year of films in 2013!
Colm2305 