True Grit (2010)

Cowboy films have almost gone the way of the dodo. Relegated to midday-movie status on television, cinemas have recently seen little of the Wild West. With this in mind, it is nice to see the Cohen brothers bringing the genre back in such an impressive way. 'True Grit' does not shy away from the elements that define the western: accents are thick, actors are grimy and death is treated as an inevitability. This allows the brothers to surprise the audience with some excellent black comedy between the gunfire and makeshift tourniquets.

The cast is full of memorable characters, but the film rests on the interplay between the main trio. Jeff Bridges and Matt Damon play US Marshall 'Rooster' Cogburn and Texas Ranger LaBoeuf (respectively). Both of these actors are at the top of their game the entire movie and the way they play off each other is a masterclass in itself. There is an instant rivalry between the two characters due to their different military backgrounds. A lot of this tension is subtle and told though simple glances and pauses, but when they begin taunting and arguing for real it becomes even more honest and engaging. It adds a lot of depth to the characters, especially when it extends to trying to impress the girl they are escorting. The girl in question is Mattie Ross, played by Hailee Steinfeld. I was initially anxious about her role: working with two of the most accomplished actors in Hollywood is no easy task, especially for a teenager! This turned out to be a non-issue, as Steinfeld proved to be tremendously engaging on the screen. Her character manages to appear tough, determined and charmingly naive at the same time. She complimented the rest of the cast beautifully.

The visual style of the film is what most would expect from a western: dirty, gritty and full of old-world pride. The same can be said of the music. However, there is a distinct advantage that this film holds over other, older examples of the genre. The difference lies in the gift that the Coen brothers bestowed on the film: their aptitude for crafting dialogue that is fast-paced and clever whilst still remaining accessible to the general audience. An excellent example is when Cogburn is justifying a recent set of killings to the jury. The audience immediately gets a sense of Cogburn's character, the environment that the film takes place in and foreshadowing regarding the difficulties that the group will face later in the film. When all this can be achieved in the background of what is primarily a dark comedy scene, it is clear that the dialogue in the film is one of the greatest strengths it holds.

There have been scant few quality western films recently. In my opinion, 'True Grit' is certainly the best since 2008's 'Appaloosa'. With a fantastic cast and excellent pacing, it is worthy of all the critical praise it has been enjoying since its release.

Transformers: Dark of the Moon (2011)

When Michael Bay first revived the 'Transformers' franchise in 2007, the outcome was a fun and visually stunning film that treated the franchise with respect whilst never taking itself too seriously. Regardless of the flaws of the film, I enjoyed myself whilst watching it. 2009 saw the release of the sequel, subtitled 'Revenge of the Fallen'. It was universally panned for becoming largely humourless and featuring awkward camera work that made it difficult to appreciate the special effects that the films had become famous for. The third film has just been released and has addressed many of the issues with the previous films. In the process however, it has introduced many more.

The acting in the film is a strange mishmash of styles. The Transformers are CG creations that are given character though voice acting. Peter Cullen, whose resume reads like the Wikipedia page for the Transformers franchise, resumes his role as Optimus Prime, leader of the Autobots. Cullen's voice remains as it has been for years: strong, authoritative and a perfect fit for the character. Optimus' enemy, Megatron, is voiced by Hugo Weaving, whose sly, deceptive tone is a perfect counterpoint to Cullen's boldness. When these characters speak, the voice acting is good enough to help the audience forget the silliness of the premise and buy into the plot of the film. However, problems arise when the acting style of the human characters clash completely with the grandiose nature of the two main voice actors. Shia LeBeouf reprises his role as Sam Witwicky, bringing nervous energy to the cast. Many of the other human characters share this 'quirky' characterisation, such as Sam's parents, played by Kevin Dunn and Julie White, and (ex-)Agent Simmons, played by John Turturro. This style of acting feels more appropriate for a summer comedy then an action blockbuster. It is very jarring when the movie seems to have a habit of moving from scenes with humans speaking fast-paced lines of dialogue about their to scenes with robots crashing into each other and solemnly reciting their moral codes. It is as if scenes from a summer comedy were spliced into a science fiction film- the different styles of acting do not blend well with one another.

As mentioned earlier, the special effects of the films are known for being superb and the third instalment of the series does not disappoint. Amongst the explosions and decaying cities, the thing that struck me the most was the quality of the animation. The various Transformers moved fluidly, but also managed to deliver a sense of weight and momentum that I felt was seriously lacking in the previous two films. The camera work was also substantially better then the previous film in particular, slowing down shots and removing the unnecessary 'shaky-cam' technique in the action scenes. The result is that the third film is more pleasing to the eye, giving the audience a clearer view of the action sequences and allowing the special effects of the film to be better appreciated.

Unfortunately, all of these improvements were offset by a particular flaw that had not been addressed from the previous films: that is, the overall length of the film. 'Transformers: Dark of the Moon' runs for 157 minutes. This movie is simply far too long and outstays it's welcome long before the film finishes. The storyline had to be basic to accommodate the action and the characters do not have the depth to sustain the audience's interest for this length of time. This film desperately needed a tough editor to come and slash at least half an hour from what ended up as the final cut, preferably more.

Tron: Legacy (2010)

The aesthetic quality of 'Tron: Legacy' is astounding. A quick Google search will reveal a plethora of critics gushing over the revolutionary special effects and the superb electronic soundtrack by 'Daft Punk'. I agree with them and so, rather than repeat these views, I will discuss one of the major criticisms of the film in closer detail: that is, the storyline.

Disney was faced with an interesting conflict when developing 'Tron: Legacy'. The idea of a world inside a computer is inherently a complex one, implying that the film would present unfamiliar and alien situations that would demand more attention then the average blockbuster film. This would normally indicate a smaller-budget film that would devote itself directly to the existing fanbase. However, the budget for the film and merchandising push that it has subsequently received means that the film must be accessible to the masses. It seems that Disney have decided to revitalise the brand for everyone, not just the existing fans. So the big question was: how could Disney take a niche film concept and make it into a family-friendly blockbuster, whilst still providing enough meat to satisfy the existing fanbase who have waited twenty-eight years for a sequel? Some critics have argued that Disney clearly couldn't, as evidenced by the simple storyline. However, this way of thinking strikes me as disingenuous. The film is an introduction to the franchise for many and should be treated as such.

The characters in the storyline, by and large, are simple archetypes. Garrett Hedlund plays Sam Flynn, the lost boy who finds his father and becomes a hero. Hedlund plays the part quite straight: he is sarcastic and headstrong, but is interesting to watch when he allows the wonder of the concept to influence his performance. His father, Kevin Flynn, is played by Jeff Bridges. When Bridges was in the original 'Tron', his character was much younger. He was loud, brash and intelligent. In 'Tron: Legacy' there is a clever duality in Bridges' performance. Due to the events in the film, his character has become a religious figure, and as such he has grown into the role in a somewhat lopsided manner due to the lack of human interaction during his time in the computer. However, after being reunited with his son, certain lines and deliveries seem like they are ripped right out of the original film, demonstrating that the original character is still alive and well in Bridges' mind. The biggest surprise to me was Olivia Wilde, who played Quorra. Her character is a program who has spent most of her existence with Kevin Flynn and has developed a very unique personality. Wilde manages to portray her as both incredibly intelligent and sweetly naive. She has managed to take a character who was a potentially cold, boring 'damsel in distress' and make her more endearing then the main character.

The storyline itself is relatively simple. Sam Flynn's father, Kevin, disappeared when he was a boy. After following a lead, Sam finds himself unwittingly inside his father's old computer system. He discovers his father has been trapped in the computer the whole time and they attempt to escape together. The key to this is that the story is simple to follow. There is a myriad of other ideas that are touched on during the film, all of which are fertile ground for further storytelling, such as the war inside the computer or the idea of self-evolving algorithms being the basis for the next step in human evolution. These alternate strands of the story are never really explored, which seems to have frustrated many critics who feel that the smarter elements of the film have been sidelined for the sake of appealing to a wider audience. The thing that everyone seems to have forgotten is that this film is a springboard for the franchise: there will be more stories told, but only if the film casts it's net wide enough to find the fanbase for it. For example, Disney has revealed that there is both a cartoon and a live-action TV series in the works for the franchise. By giving new viewers a more palatable introduction to the franchise, Disney has freed itself up to explore these other ideas through alternate means. Personally, I think they found be best possible compromise.

The King's Speech (2010)

I worked with an actor/director a couple of years ago who described “Shakespeare in Love” as an 'actor's movie'. He encouraged everyone to go and watch it again, looking out for little side-jokes and jibes at the profession that will only be noticed by those with training. At the time I thought that was a little pretentious, but on watching the film it became clear: everyone involved in “Shakespeare in Love” was in love with acting as a craft. The nature of the film gave them a perfect springboard for what amounted to a good-natured roasting of their livelihood. The reason I feel the need to describe this is that “The King's Speech” left me with the same impression.

The crux of the film rests on the interplay between the (soon-to-be)King George VI and his Australian speech therapist, Lionel Logue. King George VI, affectionately known as 'Bertie' to his close friends and family, is played by Colin Firth. There is a tremendous sense of internal strength to his performance, as he manipulates the limitations of the character's speech impediment and transforms it into an endearing trait. Firth is known for his excellent vocal performances, so seeing him work with a character like this demonstrates his versatility and technique. Geoffrey Rush plays Lionel Logue, whose Australian nationality and expressive personality are the antithesis to the reserved, quiet nature of the king.

The script is written in such a way as to allow Firth and Rush simply to act, without the need for gimmicks or a wide selection of secondary characters. Watching Lionel leading Bertie out of his comfort zone with unusual vocal exercises is a delight, particularly when the audience is treated to an uncomfortable Bertie shouting out some truly filthy language. Whilst there are other notable performances in the film (particularly Helena Bonham-Carter, who plays Queen Elizabeth) it is the chemistry between Lionel and Bertie that the film hangs it's hat on, and rightly so.

The technical side of the film is fantastic, primarily because it never draws attention away from the actors. The director clearly had confidence in his troop because the normal pitfalls of period drama are refreshingly absent. Clothes and sets are all authentic, but never take centre stage. In fact, much of the film is set in tight corridors and bare rooms, such as Lionel's office. This is perhaps the main strength of the film: despite being a period drama, the script places emphasis on the people rather then the date. It is easy for the audience to empathise and relate to the characters because we are given access to their inner thoughts and anxieties, which are irrespective of the years within which the movie is set. Even when the film indulges in it's more glamorous areas, such as Wembley Stadium, it never is to the detriment of the dialogue. One joke seems to be a sly wink to this idea when, late in the film, Bertie becomes frustrated that Lionel is sitting in King Edward's Chair in Westminster Abbey before the coronation. Lionel, with a bemused look, tells him that “People have carved their names on it!” In a sentence, Rush takes all the pomp and glamour out of one of the most important artefacts in the world, situated in one of the most beautiful buildings in the world. As the camera stays steady on Rush's face in a close-up, the audience is made to realise that it is the characters in the film whom they are interested in and not the trappings that surround them.

Fair Game (2010)

“I'm only doing my job.” This is one of the most well-worn lines of dialogue in modern literature, especially when it is related to reporters. We are all familiar with the weathered, hard-nosed journalist in films, whose efforts help the working-class fight back against an oppressive government and the upper-class societies who serve to keep them afloat. It is a little confronting to be on the other side of this battle in 'Fair Game', as we witness the complete dissection of both a career and a marriage of a government employee under the spotlight of the media.

The story centres around Agent Valerie Plame, played by Naomi Watts. She portrays the character as self-reliant, often to the detriment of her outside relationships. It is apparent that she is a woman that has given her all to the service of her government. Watts effectively portrays the inner conflict of a woman struggling to maintain an outward appearance of strength for her children whilst trying to resolve a clashing of ideals internally. For a main character, she has very little internal dialogue, meaning the audience finds her motives and opinions in the conversations she has with other characters, as well as her body language. The audience can divine the majority of her character's emotions simply by watching her facial expressions throughout the movie, which is a testament to the strength of Watts' technique. Sean Penn plays Joe Wilson, Plame's husband. It was the government's falsification of his report from the start of the film that sparks the conflict. He is as stubborn and strong-willed as his wife, and it is their conversations that provide the human side of the characters. Most of the discussions with people in the government and assets in the field are laced with lies and subtext, as is to be expected in a spy film. Without the more open, emotional discussions between Plame and Wilson as husband and wife, this film would have begun to drag substantially by the end. It is the balance between these characters that ensures they remain compelling throughout the film.

The film is presented as an expose for America's military interests in Iraq. However, I felt the more important issue was the ease with which American media could be twisted and manipulated to serve the needs of the government. Whereas governments have suppressed media in past war efforts to protect their interests, this film shows that modern times dictate another path. In an era where internet and mobile phones facilitate unbroken streams of news, it seems more beneficial to feed irresistible news to the masses and distract them rather then fruitlessly try and keep secrets from the omnipresent eye of mass media. This film serves as a warning to the public about the dangers of an unstoppable media system, as well as the importance of being informed as an individual. The apparent ease with which the general public was turned against the truth was frightening.

One of the most effective scenes in the film is actually as the credits start to roll and the scene transitions smoothly into the news footage from the actual court hearing. It helps to drive home the fact that this was not a fiction. This is not a spy film where secret government agencies bring down evil warlords in distant lands; it is a retelling of the time the President of the United States told a barefaced lie in his address to the nation, which almost lead to the destruction of a loyal government servant and her family. This was one of the most frightening films I have ever seen.

The American (2010)

Fans of the thriller genre, beware. Although marketed as an action-packed spy film, 'The American' spends less time chasing shady individuals through dimly-lit alleyways and more time indulging in the majestic scenery of sunny Italy. This may not be the movie many people are expecting, but hopefully audiences can move past their preconceptions about the film and enjoy this slow-paced, eye-catching love letter to the Italian countryside.

George Clooney stars as Jack, a man with a shadowy past and quiet demeanour. Most people will find this a little unsettling, as Clooney is usually associated with charismatic roles, but the change-of-pace provided in this film demonstrates his dramatic range. The manner with which he speaks is short and sharp, whilst he appears more concerned with not being noticed then anything else. His reserved nature is offset by animated conversations is drawn into with the various Italian characters. Father Benedetto (Paolo Bonacelli) is one of the first countrymen that Jack encounters after arriving in the village of Abruzzo. He is a wonderful character that quickly transcends the 'wise old man' role that I initially assumed he would fall into by being unexpectedly assertive when introducing himself to Jack. He shows a worldly understanding that comes as a shock, considering the isolation with which the town itself is presented. The other character of note is Clara (Violante Placido). She works in a local brothel which Jack starts visiting shortly after he arrives. Before long, a bond is formed between the two that goes beyond their physical relationship and Jack makes moves to leave his 'work' behind and start a new life with Clara. Clara and Jack are similar in many ways: they are both strong, independent and have questionable backgrounds. It is an unconventional relationship in unconventional circumstances yet the honesty in the interactions between the two characters makes the relationship feel completely natural, not convoluted.

The actors do a fine job, but there are two other stars of this show. The first is the script, which manages to do more with less seemingly effortlessly. There is very little dialogue in the film but we as an audience do not feel cheated. The characters do not rely on long bouts of exposition to establish the backgrounds of their particular characters. Rather, there is enough implied through subtext to satisfy the audience. This is important because it allows economy of script, giving the characters more time to interact with other characters in the present. This helps maintain the pace of the film, which is important considering the second star of the show: the cinematography. The sweeping views of the city are lengthy and stunning. Every frame is immaculately designed to show off the colours and architecture of the old buildings, cobbled paths and the mountains that surround them. Interior scenes are shot with the same love and care. Small cafes and lavish restaurants are shown in contrast to the workshop that Jack has turned his room into, all of which helps to give flavour to the wider surroundings.

There is no denying that 'The American' will be too slow for some. There is very little emphasis on action and the tone is unlike the majority of films that filter through to the worldwide stage. However, for others it will be a breath of fresh air. The charm of this film is undeniable.

Red (2010)

Most people who goes to see 'Red' know exactly what they are getting themselves into. A light-hearted action comedy featuring a parade of commercially and critically lauded stars? It is a pretty easy commitment to make. The more unexpected parts of the movie are the strength of the supporting cast and the overall slickness of the script itself. This movie was virtually guaranteed to be enjoyable due to the cast alone but, admirably, it has aspired to be more.

As expected, the main cast are uniformly brilliant. Every time Frank Moses(Bruce Willis) encounters an old acquaintance, the air becomes thick with implied relationships and past experiences. The bond between the characters in the film is really an allegory to their relationships as actors: they all have been hardened professionally from their years of experience in the business. A sense of mutual respect resonates throughout the film. The audience knows all of these older actors and, as such, quickly engages with their characters in the context of the film. It does not take long for us to start imagining their working together when they were younger, giving a tremendous depth to the characters without the need to bloat the script with lengthy scenes of exposition.

Impressively, the other actors manage to complement the top billing very well. Mary Louise-Parker plays Sarah Ross, a lonely middle-aged woman who manages to get tangled up in the spy games around her. Her character is unexpectedly endearing compared to the 'damsel in distress' that I was expecting. Louise-Parker plays her as a strong willed woman with a (somewhat unsettlingly) positive outlook on the dangerous events in the film. Her face often fills up with childlike wonder as she imagines the excitement of life on the road with a spy- not the usual weak-willed, throw away love interest! Karl Urban, who plays FBI Agent Cooper, is one of the youngest members of the cast but has an extremely impressive presence on the screen. His introduction scene blends a cold physical exterior with an emotional personality as he calmly talks to his family on the phone whilst assassinating a target: something that may sound cheesy on paper but works extremely well given the tone of the film.

The primary reason that the characters are so important is that the script is surprisingly dialogue-heavy. When the action scenes come they are short and snappy, never outstaying their welcome. This means that the characters themselves carry the film, rather then the cinematography. I found myself in a similar situation as to when I saw 'Iron Man' a few years ago, where I found myself more interested in a phone conversation between characters then the action sequence that followed it. To my mind, this is a healthy direction for films as it allows the focus to be put more on acting and less on expensive special effects and frills. In most films the technical side should be supporting the acting, not the other way around. Action films have traditionally been particularly guilty on cutting corners with scripts in favour of extra explosions, and I am grateful that 'Red' did not.