October 2015 – Consumed By Film

Man Crates: Horror Movie Survival Guide

There is a sequence in Wes Craven’s Scream where local horror buff Randy Meeks (Jamie Kennedy) takes centre stage before a group of apparently in-the-know teenagers and explains to them the various rules of scary movie survival. “There are certain rules that one must abide by in order to successfully survive a horror movie,” he exclaims with hilarious passion. Be a virgin. Don’t announce your imminent return. And damn it, everyone is a suspect!

Taking inspiration from the lovely people over at Man Crates, I reckon it’s time we shifted our collective focus away from the reactive and towards the proactive. Let’s stop worrying about who the killer is and start worrying about how to conquer said killer. A zombie apocalypse? Forget wearily looking around for fresh water, we ought to start stocking up on the good stuff now. Below is a list of must-have possessions, things everybody should own in the event of a horrifying disaster. Let’s not kid ourselves, in a few years The Walking Dead will probably be eligible to win Best Documentary Series at the Emmys.

You check out Man Crates’ numerous crate combos here — my personal favourite is the Retro Gamer edition. The crates are primarily aimed at guys (we’re notoriously indecisive when it comes to gift wish lists) though I reckon many women out there would be interested too. Crowbars at the ready.

1 — Water (lots)

Given I’ve already mentioned it, this one shouldn’t come as much of a surprise. Apparently us humans can only go around three days without water — unless you’re Frodo Baggins who, along with his mate Sam, went something like a week without H2O replenishment. Hoarding water is just common sense. You might even be able to recycle it too, though I’m certainly no expert.

2 — Michonne’s sword (and Michonne)

A weapon is essential, and you wouldn’t want to be lugging around a chainsaw all day and night. A gun would be excellent for a while but you would be snookered when the ammo runs out. I always fancied myself as a bit of an archer — on Skyrim, anyway — but arrows numbers would eventually diminish too. I reckon you’d want something long in length to avoid any close combat, and a Katana blade perfectly fits that bill. Perhaps it’d be best just to hire Michonne as your personal bodyguard.

3 — Notepad and pen(s)

You’d need something that would help pass the time in between any monster-evading exploits, and since technology requires power (which, presumably, would be difficult to garner in a world ravaged by villainous creatures), I reckon the old notepad and pen combo would do the trick. Us film fanatics could write. Arty folk could draw. Gamers could play noughts and crosses. Endless fun.

4 — Netflix

I know I said earlier technology would be a moot possession in an apocalyptic landscape, but who am I kidding? It’s 2015. Us Millennial lot can hardly survive a day wrapped up in bed without the wonders of Netflix. Chances are the big baddie at large — be it the Xenomorph from Alien, Leatherface from The Texas Chain Saw Massacre, or Ghostface him/herself — would end up addicted to Orange is the New Black anyway.

5 — Bear Grylls

He is basically humanity’s version of a pocketknife. Bear can hunt for food, he can seek out accessible shelter, create fire without equipment, built rafts to cross rivers etc. Even the world’s most powerful man, Barack Obama, trusts him (though according to the President, Bear’s culinary skills leave something to be desired). And besides, if you can’t survive a real life horror movie with a guy called “Bear” by your side, your survival chances were probably null upon arrival.

Bonus — Harry Potter’s Cloak of Invisibility

This isn’t cheating, is it? You could sit peacefully, sword in tow, guzzling water, jotting down notes in between episodes of Twin Peaks, Bear Grylls camped by your side, and remain hidden from the atrocities of reality. I suppose if we are venturing down the magical route, Hermione’s Time-Turner would be a better option.

There you have it. Some words of advice, free of charge. What more can you ask? If you have anything to add, feel free to do so in the comments section below.

Images credit: Collider

Images copyright (©): Dimension Films, AMC

Back to the Future (1985)

★★★★

Director: Robert Zemeckis

Release Date: July 3rd, 1985 (US); December 4th, 1985 (UK)

Genre: Adventure; Comedy; Science fiction

Starring: Michael J. Fox, Christopher Lloyd

From the moment Dean Cundy trails his camera around Emmett “Doc” Brown’s (Christopher Lloyd) cantankerous home, clickety-tickety gadgets clicking and ticking in all directions, you just know Back to the Future is going to be a film that values wacky invention and rich characterisation. The plethora of loud clocks, the iffy tin openers, the monster amps, they all reflect Doc’s personality: budding, buzzing, and entirely unpredictable. And we haven’t even met him yet.

It’s Marty McFly (Michael J. Fox) whom we first encounter, tripping over Doc’s seemingly infinite housebound bits and bobs, somehow looking both uncomfortably out of place and at ease with his bonkers surroundings. We know then that the pair share an uncommon bond and that, for the remaining two hours, its lack of plausibility doesn’t matter. These opening 10 minutes, penned by director Robert Zemeckis and co-writer Bob Gale, are brilliant. Those that follow are pretty good too.

We initially find ourselves slap-bang in the mid-1980s, Huey Lewis and the News’ “Power of Love” beefing up the Zeitgeist with pop rock verve. The special effects are goofy but in charming sort of manner, electric lights fizzing and squawking. When we shift to the 1950s soon after, the visual palette takes on a post-war retro tint: glass bottles of Coca-Cola, tall chocolate milkshakes, unabashedly shiny vehicles. Doc and Marty are to blame for said shift, the former having transformed his DeLorean into a time travelling machine and the latter having taken the time-sensitive plunge.

Marty is a bit cocky, a bit arrogant. He’s a rebel with a cause: to change history. Zemeckis and Gale set up the various pay-offs early on — Biff (Thomas F. Wilson), the adult bully who needs some comeuppance; the Hill Valley Preservation Society’s attempts to save the town clock tower that, coincidentally, was struck by lightning 30 years ago. We know how story facets such as these will play out, but other rules are established only to be rewritten. In 1955, Marty takes his father George’s (Crispin Glover) place in a car accident, blacking out and subsequently awaking in his mother’s teenage bedroom. She, unaware Marty is her son, tries to seduce him.

The aforementioned notion would provoke cringe in many other outings, but Back to the Future gets away with it because the air is so madcap. Michael J. Fox’s nervous energy around his young mum Lorraine (Lea Thompson) is both hilarious and touching: “You shouldn’t drink because… you might regret it later in life,” he informs his mother, a future alcoholic. Crossover traits from the 50s and 80s afford Marty a freshness in both settings — traits such as booming teenage culture, motor car appreciation, and the imminent popularity of rock music. The film even paints Marty as the brainchild behind Chuck Berry’s “Johnny B. Goode”, and you can’t help but admire its odd legitimacy.

On the other hand, Doc is introduced under an air of mystery. We hear his voice, eccentric and agitated, over the phone long before we meet him in person. The barmy inventor reverses noisily on-screen, smoke pillowing wherever there is space, his frazzled hair and radioactive suit vindicating our original preconceptions. Christopher Lloyd unveils an intense stare that promotes excitement rather than intimidation. His character is like an affable Count Olaf, if Count Olaf was a mad scientist and affable. You accept Doc and Marty’s offbeat camaraderie as standard practice because the two actors have natural, unkempt chemistry. They drive the film with as much intent and enthusiasm as they drive the DeLorean.

Elsewhere, Back to the Future spends time taking potshots at 1950s culture and politics because doing anything else would be against time travel law. In a not-so-solid burst of intuition, Marty decides the only way to convince past Doc (there are a few incarnations of one or two characters which can be a tad confusing) that he has arrived from the future is by reeling off 1980s characteristics, and subsequently names Ronald Reagan as the current US President. “Ronald Reagan, the actor? Ha!” Doc shoots back, a response that probably would have held weight back then, when Reagan was more likely to be found on a Hollywood movie set than inside the Oval Office.

It is practically impossible not to enjoy this film. With almost as many quotable lines as Casablanca, it’s essentially Grease on physics-defying wheels. Zemeckis creates a heightened ambience that encourages nothing but authentic, irreverent chaos. Suburban madness was a movie-making norm in the 1980s, and Back to the Future is as wonderfully mad as it gets.

Images credit: IMP Awards, Collider

Images copyright (©): Universal Pictures

Clooney and the Coens, Together Again?

According to Deadline, George Clooney is set to reteam with the Coen brothers on Suburbicon, a noir-drama penned by the sibling duo. It appears Clooney will be taking up the directorial reigns, the silver-haired silver screen star having already successfully overseen the making of other outings such as his beautifully crafted 2005 piece, Good Night, and Good Luck.

The screenplay has been languishing in the bowels of Hollywood, or Coen-wood, for at least a decade — Empire reported on Clooney’s potential involvement as far back as 10 years ago — but now the stars seem to have finally aligned for the trio. Clooney and the Coens have been working together since 2000 when the actor starred in O Brother, Where Art Thou?, an uproarious Depression Era take on Homer’s Odyssey. Only the Coen brothers could conceive a Depression Era take on Homer’s Odyssey. Their collaborative portfolio portfolio also includes Intolerably Cruelty (2003) and Burn After Reading (2008).

Despite the lengthy waiting period, details remain fairly sketchy regarding Suburbicon’s plot, though I suspect it’ll have something to do with crazed unicorns wreaking havoc on a quiet suburban locale. Whatever the case may be, should Deadline’s report come to fruition Clooney will certainly be hoping for a more positive critical outcome than that fostered by his last directorial product, The Monuments Men.

Joel and Ethan will direct Clooney again in their latest upcoming venture Hail, Caesar! which is set for release early next year and could figure prominently throughout awards season. The film harkens back to 1950s Hollywood and will see Clooney star as big name actor Baird Whitlock who is kidnapped mid-production. Fixer Josh Brolin is the man called in to solve the should-be entertaining mystery. Scarlett Johansson, Ralph Fiennes, Jonah Hill, and Frances McDormand are among a host of other actors involved.

If the trailer is anything to go by Hail, Caesar! will be another gloriously shot brash comedy with sardonic skin. In other words, one you ought not to miss. Channing Tatum is playing an actor playing a sailor — look at that grin for goodness’ sake!

Images credit: Indiewire, Vanity Fair, Collider

Images copyright (©): Walt Disney Studios Motion Pictures, Universal Studios

Back to the Future, Back in the Cinema

It’s the franchise that was never supposed to grace the silver screen again — director Robert Zemeckis has said so himself on many occasions — but the Jaws 19-decrying Back to the Future trilogy zoomed back into cinemas all over the world on Wednesday, breaking its own steadfast rule as a result. Great Scott! Heavy indeed.

But fear not. Zemeckis’ insistence that there shan’t ever be a Part IV is still set in stone, and as such Back to the Future’s legacy will remain firmly intact for the foreseeable, um, future. The trilogy’s re-release arrived as part of a wholesale cinematic celebration and moviegoers seemed to lap it up, attending screenings in their droves. October 21st, 2015 is a date that has been permanently marked in all of our calendars ever since Marty McFly and Emmett “Doc” Brown ventured from their 80s-set suburban existence through time, before landing in a world of self-tying trainers and hoverboards. The former has come to fruition in real life. Sadly, we are still waiting on the arrival of latter.

Variety is reporting that the trilogy garnered a respectable $4.8 million worldwide from its one-day rendezvous, a total comprised of North America’s $1.65 million domestic gross and an international intake of around $3.2 million. Those are heartening figures, especially when you take into account the day of the week (i.e. that it wasn’t a Friday or a weekend) and the pretty demanding near six-hour runtime for those sitting through all three films.

By comparison, Ghostbusters gained an extra $3.5 million in domestic revenue when it embarked upon its 30th Anniversary encore last year, and we all know just how highly regarded that outing is. Zemeckis, who coincidentally had to face off against himself at box office on Wednesday, will presumably be delighted that his franchise — produced by Steven Spielberg’s Amblin Entertainment — is still held in such high regard after 30 years. That’s the power of love.

For those few of you out there who aren’t up to speed on the madcap world of Hill Valley, California, the trilogy follows the trailblazing exploits of Marty (Michael J. Fox) and Doc (Christopher Lloyd) as they invariably travel backwards and forwards through time in order to influence a whole host of life events. Hilarity, unsurprisingly, ensues. Lea Thompson, Crispin Glover, Thomas F. Wilson, and Elizabeth Sue also star in one of cinema’s most endearing products.

Images credit: Collider

Images copyright (©): Universal Pictures

Horns (2014)

★★

Director: Alexandre Aja

Release Date: October 29th, 2014 (UK); October 31st, 2014 (US)

Genre: Drama; Fantasy; Thriller

Starring: Daniel Radcliffe, Juno Temple, Max Minghella

Based on author Joe Hill’s novel of the same, Horns represents another opportunity for Daniel Radcliffe to shed his boy-wizard skin. The actor ought to be commended for selecting varied post-Potter roles that, at least from the out looking in, continue to pose different challenges: in recent years, he has played an Edwardian-era lawyer, a Beat Generation poet, and now a horn-growing murder suspect. This might be his most interesting role on paper, but not even Radcliffe’s admirable effort can save Alexandre Aja’s inconsistent adaptation.

Labelled a killer by many in his community, Ig Perish (Radcliffe) wakes up one morning to discover a pair of bulging discs protruding from his forehead. The swollen abnormalities eventually evolve into manic-looking devil horns which, despite Ig’s best efforts, cannot be remove. Bereft of answers, he tries to get on with his life in as normal a manner as possible, and this mainly involves conferring with childhood mate and legal counsel Lee (Max Minghella). Only, those around Ig don’t quite follow suit.

The tone at the beginning is almost wholly comedic. Animal horns fully realised, whenever a mournful Ig finds himself in the company of others, people start acting horrendously: a mother vehemently denounces her young daughter’s fairly innocent behaviour; a receptionist spits vulgarities in the presence of a child; and a doctor yearns for drugs, only not the healthy kind. Yet it all feels forced. The aloof ambience doesn’t really have a foundation, spawning with no support. Why are people acting abominably? Why does Ig have horns? And if we must: who killed girlfriend Merrin (played by a seriously short-changed Juno Temple)?

The latter question is the one that instigates the film’s goings-on, but it isn’t necessarily the one that drives the piece. Horns doesn’t really have a central pivot point as far as the narrative goes. Instead, there a few floating plot strands, none of which are amply examined. Most time is spent disputing the reality of Ig’s jagged head attire; there is an ongoing debate surrounding whether the horns actually exist, or if they are simply a figurative manifestation of guilt. See, not everyone is privy to the mini antlers, and the presumption therefore is that they can only cast a spell on immoral folk: “Maybe the horns just don’t work on good people?”

It’s a premise that has potential, as evidenced by the book’s success, but director Aja struggles to maintain a settled tone, nonchalantly jumping around from dark comedy to revenge-thriller to grotesque horror. This hampers events on-screen and distracts us. You get the sense a straightforward crime-mystery would have been more palatable — the oddness, the tonal inconsistency, is too isolating. It also hurts Ig; he gets caught up in the film’s vacillating tonal underbelly, cracking jokes one minute and weighed down by despair the next. Radcliffe affords his character a degree of watchability, but it is tough to sympathise with a wimpy and agitated protagonist.

Aja is aiming, it seems, for a 21st century hipster-ish Twin Peaks. Heather Graham appears as a waitress wearing bubblegum-red lipstick and cream -pink overalls. If that is not enough, at one point the camera pulls away from a band playing in a club, the background aquarium-blue in colour and the atmosphere red-tinted. Though, by then you’ve probably already loaded up disc one of the Twin Peaks box set. Whereas David Lynch’s mesmeric concoction — both TV series and film — bore elements of genuine horror and hazy addiction (not to mention its band of universally compelling characters), this succumbs to a disorientating factor that it never shakes. Horns needs a Horne.

We get a Scream citation in the form of a doting detective, short hairdo and moustache combo invoked, but sadly it ain’t circa-1996 David Arquette. Even though there is always room for peer admiration, the film gets too caught up in saluting other, frankly better, horror instalments and inevitably misses its own creative train as a result. When Horns does try to chisel out original content it makes a host of unsubtle references to faith and Hell. A parade of snakes stalk Ig at one point, but on this occasion Parseltongue bites the dust.

In another underfed narrative thread, an explosive childhood flashback recalls The Butterfly Effect. Its intention, I guess, is to subsidise the edgy themes at large and suggest that violence once brought Ig and his cohorts together and now violence is in the process of tearing them apart. Had screenwriter Keith Bunin spent more time exploring how we, as a public, engage in tragedy-induced media frenzies, there might have been more for viewers to chew on. Gone Girl is a recent film that bitingly critiques how people reveal their true selves in dire moments, and it is overflowing with fascinating relevance. Admittedly, Gone Girl is also simply an all-round better film.

Horns is quite well-played in parts. A battle sequence performed to “Personal Jesus” makes very little sense yet garners a chuckle. The outing also has a laudable non-distinctive aesthetic; it could be set at any time in the last thirty years. The piece deposits its comedic purpose for something scarier later on, though it’s nothing truly frightening. It’s all just a bit grim really.

Images credit: IMP Awards, Collider

Images copyright (©): Dimension Films, RADiUS-TWC

Crimson Peak (2015)

★★★★

Director: Guillermo del Toro

Release Date: October 16th, 2015 (UK & US)

Genre: Drama; Fantasy; Horror

Starring: Mia Wasikowska, Tom Hiddleston, Jessica Chastain

The fact that Guillermo del Toro’s latest offering is a carnival of visual ebullience probably won’t come as a shock to anybody out there. A 19th century Gothic nightmare with lots of frothy verbiage, every last word enunciated to the nth degree, Crimson Peak delivers in most of the areas we would expect but not all of the areas we would like. Granted, this is not a horror movie nor does it try to be anything of the sort, but its fleeting moments of fright never quite amount to the haunted atmosphere del Toro covets. The narrative also takes some time to explode into life, eventually doing so with menace. At least until then we have a bedazzling aesthetic to keep us company.

Mia Wasikowska plays Edith Cushing, a young woman who seeks to carve her own way in the world without relying on her father’s (Jim Beaver) wealth. She writes (stories with ghosts, not ghost stories), though Edith’s professional hopes are initially dashed under the guise of superfluous reasoning when a superior decries her “feminine handwriting” and the lack of romance in her tale. Crafty and stubborn, she swaps pen strokes for typing but remains steadfast on narrative content. Matthew Robbins co-wrote the film with del Toro and, in Edith, the pair have concocted a female character whose determination to evade tradition is at odds with the prevailing social structure.

She meets Thomas Sharpe (Tom Hiddleston) when the latter shows up looking for funds to support his clay processing invention, and the duo fall in love. From dad to would-be muse Dr. Alan McMichael (Charlie Hunnam), everybody is wary of Thomas’ intentions: “There’s something about him that I don’t like”. Everybody except Edith, who really should have taken the hint upon seeing Thomas converse with his mischievous sister Lucille (Jessica Chastain) in the shadow beneath a large, looming tree.

Crimson Peak’s technical prowess is there for all to see, its rich texture and engrossing visuality arguably on a par with del Toro’s masterpiece Pan’s Labyrinth. But it lacks that film’s beating heart, perhaps because it is tougher to empathise with Edith here than it was Ofelia there. Pinpointing exactly why the Edith’s plight doesn’t translate as well is difficult; Wasikowska is perfectly fine in the role and her character is not disagreeably construed. It is true that her words are often quite gushy, certainly more so than those spoken by Lucille, and at best on a par with Thomas’ dialogue.

The film isn’t excessively melodramatic but its swirling air of grandiosity can hinder the credibility of characters’ actions — from where, for instance, is Edith’s insurmountable trust in Thomas born? To align grand romantic gestures and sap-filled exchanges with Gothic fiction would be a fair assessment, though I’d argue the genre itself is in that case flawed. Or, at the very least, the aforementioned traits don’t meet the screen with enough grounded authenticity in Crimson Peak, and definitely don’t fit a character who is trying to break free from cultural the norm.

Edith’s mother appears in ghost form, an apparition cut from the same ocular cloth as the spectre in another Jessica Chastain outing, Mama. Chastain has more to sink her teeth into here; as Lucille she is very mysterious, her movements icy and her stare searing. She often dawns extravagant gowns but unlike the bright, undiluted garments worn by her sister-in-law, Lucille’s attire often reflects her dark interior (deep rose-coloured and sharply defined). Her undulating poise sets a tone of torment and, as it transpires, Chastain is a terrific passive-aggressive tormentor. But Lucille is also on the verge of mental collapse — her composure, fake, could come unstuck at any moment.

Tom Hiddleston is also very good, though his role commands a different shade of mystery. He must be both a schemer and a sympathiser, and the actor finds the correct balance between the two. You feel his conflicted plight, yet you still can’t fully trust his crow-esque demeanour. In a sense the film is crying out for more interactions between the siblings, especially during its less compelling first half. A word too for Burn Gorman who is superbly cast as a sly detective of sorts, slinking around in the much the same vein as Metropolis’ Thin Man.

At times del Toro’s film is exceptionally violent. One bathroom-set murder harkens back to Casino Royale’s pre-title brawl, only this one is much blunter and probably much bloodier too. It is part of an effervescent production design that somehow straddles the line between realistic and dreamlike: marvellously crafted sets, eye-catching costumes, piercing sounds (just wait for Lucille’s ceramic-screeching monologue).

Enshrouded in a bleak snowy mist, Allerdale Hall — the mansion that hosts proceedings — could pass for a miniature Voldemort-led Hogwarts. Dan Laustsen’s camera swoops around torn halls and through once-noble doorways as if flaunting the Titanic. When it comes to housing, del Toro is decorative master and he incites every moan, groan, and grumble from Allerdale Hall as possible. Blood red clay seeps from floorboards and bleeds down the walls in Evil Dead II fashion; it’s as if the building is literally sinking into hell.

Crimson Peak benefits from the process of time, with each passing second coaxing greater momentum and a rise in intrigue level, until the film reaches its barnstormingly gory finale. But it also benefits from boasting a cast who collectively prescribe to the mood of the piece, and a director who knows this genre — his genre — better than most.

Images credit: IMP Awards, Collider

Images copyright (©): Universal Pictures

The Walk (2015)

★★★

Director: Robert Zemeckis

Release Date: October 9th, 2015 (UK & US)

Genre: Adventure; Biography; Drama

Starring: Joseph Gordon-Levitt, Charlotte Le Bon, Ben Kingsley

In 1896 the Lumière brothers screened one of their debut films, L’arrivée d’un train à La Ciotat. Legend mischievously has it that audience members, shocked by the sight of a steam locomotive moving towards them, fled from the vicinity with vigour. It’s one of those historic stories draped in romanticism that you desperately want to believe, and films such as The Walk give credence to stories such as those. The Walk isn’t as authentic as James Marsh’s brilliant Man on Wire, but then that documentary never dangled us 1,350 feet above Lower Manhattan.

Philippe Petit (Joseph Gordon-Levitt) does not believe in “getting a permit”. He can say that again. After biting into a sugary sweet, the French street performer scuttles over to his local dentist and then moans about having to struggle through two hours of toothache as he waits for an appointment. He ain’t the only one squirming for two hours; if you don’t get along especially well with heights, things might get a bit tetchy. Petit’s pain-stricken time at the dentist acts as a catalyst for what he would later call the “artistic coup of the century”: a tightrope walk between the Twin Towers.

But before we can ascend, there is stuff to do. Narrative, or set-up, or something. The visuals down on ground level are oddly ropey. It’s as if the film is trying to mix a Toy Story-esque texture with real life, and it doesn’t quite work. The objective is clear and sort of understandable: to evoke a fairy tale quality that supports Petit’s impossible task, one bearing mythical connotations. But the uncanny aesthetic funds a light, sprightly momentum when perhaps something grittier would have been more interesting — the real Petit, for instance, has never shunned away from acknowledging his foolish qualities. In fairness, Joseph Gordon-Levitt does energetic vanity well.

Writer-director Robert Zemeckis and co-writer Christopher Browne do at least shed some light on Petit’s stubbornness. The performer’s selfish mantra in the pursuit of artistic merit places unfair stress on his friends and family, a sentiment also explored in Everest. As such Petit veers exceedingly close to unlikeable, which would be fine if the film wasn’t so hell-bent on trying to sell him as the dream-conquering saviour of New York. The screenplay takes liberties with specific true events. In Man on Wire, Petit admits to cheating on his girlfriend Annie (Charlotte Le Bon) immediately after achieving his goal, but the film shies away from this revelation and the alternative it proposes is unsatisfactory.

Petit’s characterisation could be bolder. In an interview on the Empire Podcast, Zemeckis revealed why he chose to selectively colour his lead: “The character I thought the audience could identify with is the one that I portrayed”. His reasoning is fair, but the director is underselling his audience’s willingness to empathise with shades of grey. Towards the end, one of Petit’s comrades suggest he has finally given soul to the Twin Towers, which might also be a fabrication. But at least this is part of Zemeckis’ attempt to pay homage to the World Trade Center post-9/11, and the idealistic notion is actually quite sweet.

Back in France we occasionally rendezvous with Ben Kingsley, playing tutor Papa Rudy, who sports a non-specific European accent — it’s all over the place and nowhere in particular. One of the team members recruited by Petit to fulfil his self-penned destiny suffers from vertigo, while another, who spends the film intoxicated on drugs, jokes about the height of the stunt (though to be fair, the latter’s Shaggy from Scooby-Doo demeanour is quite amusing). Petit himself donates to this atmosphere of farce with statements such as, “I whisper so the demons won’t hear me”.

It is all quite ludicrously caper-ish. Ocean’s Eleven atop the world’s tallest building. As the team plans Petit’s vertical-turned-horizontal heist, the tightrope walker dawns a number of amusing disguises: reporter, construction worker (foot impaled by nail included), tourist, businessman. Composer Alan Silvestri even occasionally treats us to Mission: Impossible’s famous vacillating whistle. The soundtrack also borrows from Damien Chazelle’s Whiplash, fielding a cantankerous drum and jazz beat aided by the prevailing tension. Thankfully there is no rushing during The Walk.

Inevitably, the outing has to wade through a sea of invasive anticipation. Most of the events that occur during the opening two-thirds are fine, but we’re only really here to trial the fearful majesty of high, high, high-wire walking. Following Petit’s lead — his calming influence is a saviour — the first time we peer over the edge of the World Trade Center an undeniable rush of exhilaration and terror ensues. This is where Dariusz Wolski’s cinematography really comes to fruition, at night unveiling a wonderful neon carpet below, and during the day capturing the voluminous bustle of New York City. The towers look incredible too; it’s nice seeing them relayed in such a positive light.

But is the walking part of The Walk just a stunning gimmick, or is it a genuine cinematic experience? Probably a bit of both. As Petit steps onto his wire you brace yourself in much the same way someone would prior to pelting down a steep slope on the world’s fastest roller coaster, but the sequence also incorporates classic movie tropes: burgeoning threat, visual amazement, a visceral personal reaction. There is one moment involving a seagull that almost ruins the spectacle (it’s ridiculous and unnecessary) but thankfully that dissipates quickly.

If 3D is one of modern cinema’s aggravating realities then this is the way it ought to be used. For around half an hour, the format contributes to the genuine awe you feel when balancing between the towers. Zemeckis has set a new benchmark in three-dimensional movie-making. Upping the ante? That’ll be a tall order.

Images credit: IMP Awards, Collider

Sicario (2015)

★★★★

Director: Denis Villeneuve

Release Date: October 2nd, 2015 (US); October 8th, 2015 (UK)

Genre: Action; Crime; Drama

Starring: Emily Blunt, Benicio Del Toro, Josh Brolin

For Denis Villeneuve, Sicario marks something of a departure from Enemy’s odd intricacies and the personal anguish of Prisoners. It has more in common with the latter — a nasty streak and a bleak underbelly — but Villeneuve’s third English-language outing is a different beast entirely. It’s a very cold film. There is so much bloodshed that you almost become impervious to feeling, though attempts to humanise its various players are admirable and fairly successful. Sicario’s concerns are wrapped up in the (under)world of grisly cartels, and in how the war on drugs has fostered moral imprecision, even on the ‘good side’.

FBI agent Kate Macer (a brilliant Emily Blunt) is part of that good side, and one of only a few individuals whose outlook relays consistent righteousness. We realise instantly that Kate is both strong and capable, yet not at all infallible. Nobody is for that matter — when her team finds a myriad of deceased bodies plastered behind the walls of a house, physical and mental repulsion take over (there’s a lot of vomiting). This discovery triggers an IED explosion that kills two agents, setting in motion a covert investigation into some serious criminal wrongdoing. Kate, driven by a need for revenge, volunteers for the job.

She has to navigate a landscape dominated by important-looking men wearing suits and asking personal questions (“Do you have a husband?”). Josh Brolin’s Matt Garver is one of those men, an advisor-cum-field officer whose macho posture is supported by a spine of arrogance — for some reason he wears sandals during mission briefs. Garver leads the field operation, batting back Kate’s inquisitive questions with vague swings; you get the sense his unwillingness to reveal all has less to do with bureaucracy infecting law than it does pomposity.

Pitting Kate in amongst cowboys and sheriffs and gruff Texans with gristly beards seems to be Villeneuve and screenwriter Taylor Sheridan’s way of acknowledging reality while also challenging the effectiveness of a masculine culture. While most of the men — not all, Kate’s partner Reggie Wayne (Daniel Kaluuya) is similarly noble, though he too is portrayed as an outsider — are energised by the presence of their egos, Kate, indiscreet and somewhat inexperienced, is our key moral fibre. It’s through her gaze that we peer into an immoral world, and it increasingly feels like only her actions can reshape said immorality.

Sicario is clear in its admission that nothing is clear. People are neither good nor bad (in fairness some are quite bad) but instead exist somewhere along an ethical spectrum. A Mexican cop whom we visit throughout the film is shown interacting with his family, particularly his football-loving son. Joe Walker’s editing — which cuts from the search operation to the officer’s modest home — implicates the cop in some form of corruption, yet his family-conscious roots are never invalidated. The vast majority of people on-screen are treated as human beings, a trait often missing in films that depict warring factions (see American Sniper).

If government agencies and drug cartels are the factions at war, Juárez, Mexico is the battlefield. The city is introduced as a final level boss: maze-like, audibly inscribed with tales of dread, bookended by a pulsating score. It’s the urban equivalent of Everest’s Death Zone — the longer you stay, the more likely you are to die. Perennial, and future, Oscar nominee Roger Deakins often gives scenes time to breath, funding the perception of encroaching danger. Civic infection has wreaked havoc upon the people of Juárez, so much so that civilian life is now inseparable from criminal activity. Just ask Silvio, the aforementioned policeman.

Early on, we take a drive through the cartel capital in a stretch of truly exceptional filmmaking. It’s tense, eerily subdued. It makes you feel ill, and its conclusion ushers forth one of the most anxiety-ridden traffic jams in silver screen history. Following the film’s incredible opening third (which is ostensibly a 40-minute horrorfest) the pulse inevitable drops. What follows isn’t quite as interesting; it’s the downtime between assignments, where Kate and co. swan around bars and stare diligently at maps, invoked to add character depth.

One of those characters is Alejandro Gillick (Benicio Del Toro), the titular sicario. Del Toro saunters on screen parading a mystique that suggests he ain’t to be messed with. He folds his jacket even though it is already creased, a move that mirrors his make-up: externally unruffled but internally blazing. The actor has that grizzled veteran demeanour, his hitman reminiscent of Charles Bronson’s Harmonica in Once Upon a Time in the West. Gillick says very little, affording extra reverence to the few words he does speak: “You’re asking me how a watch works. For now, let’s just keep an eye on the time”. Or, in layman’s terms, conquering a complicated cartel network is inescapably complex.

Lines are blurred and identities masked in Sicario’s post-9/11 society. This is Zero Dark Thirty with a narcotic skin. There is a wonderful sequence that precedes the final act (at which point the tension re-escalates): darkened human silhouettes descend into the black abyss below a brooding, orange-tinted skyscape. It’s a sublimely serene moment in a film otherwise dominated by impending threat. The serenity, like life in Juárez, is short-lived.

Images credit: IMP Awards, Collider

Macbeth (2015)

★★★★

Director: Justin Kurzel

Release Date: October 2nd, 2015 (UK); December 4th, 2015 (US)

Genre: Drama; War

Starring: Michael Fassbender, Marion Cotillard

Justin Kurzel’s ferocious take on Macbeth begins and ends with death. Though its Shakespearean format might isolate those who aren’t well-versed in the Bard’s prose, the film attains a degree of accessibility by dealing in brute force and thematic clarity. We see a Star Wars-esque information trail at the start, but this time the text is in blood red. Jed Kurzel, Justin’s brother, concocts a score that drills and hammers in tandem with bellowing battle cries, bestowing total discomfort upon us. Writers Todd Louiso, Jacob Koskoff, and Michael Lesslie opt to examine how the loss of innocence can incite the immoral side of power, and the results are unflinching.

Upon discovering he is destined to be king, Macbeth (Michael Fassbender) weighs up the immediacy of his sure-fire thronage. Lady Macbeth (Marion Cotillard) urges her husband to commit treasonous murder, to speed up the process by killing King Duncan (David Thewlis). Convinced, and perhaps driven by grief brought about by the death of his own child, the Thane of Scotland slays his superior. From then we see the man crumble, haunted by visions of dead clansmen he swore to protect in battle. He becomes a mad king increasingly propelled by unfettered impulsion and corrupted by power (“Full of scorpions, is my mind”).

Kurzel’s film will likely appeal to a specific audience; attempts to widen its potential reach are few and far between. Ye who enter devoid of prior knowledge, like myself, will have to contend with a movie that communicates entirely through the diction of Shakespeare. As such, it functions much in the same way a foreign language piece without subtitles would, which might alienate some viewers. It shouldn’t though. Blindly following the story is never too difficult as the actors offer a tangible, precise translation. It’s a testament to the performances of Fassbender and Cotillard in particular that the narrative is sold to us without a verbal parachute.

With Fassbender, it’s all in the eyes. His Macbeth, a brooding warrior at the fore, grows bags that darken beneath increasingly absent pupils as the pressure of sovereignty takes over. We never really know where we stand with him — his irreverent actions eventually hit a point of no return, but until then there’s a sorrowful tragedy surrounding Macbeth. In a case of role-reversal, it is Lady Macbeth who must take on the burden of regret. Cotillard is more subtle than her male counterpart. Her words, though often beautiful, are enshrouded in hysteria and pain; the camera unblinkingly lingers on her face during a scene towards the end as the actor speaks with utter command, evoking genuine heartbreak.

The framework from which the duo perform is comparable to how Eddie Redmayne and Felicity Jones navigated The Theory of Everything: one exercises true physicality while the other evokes a delicate-yet-purposeful poise. There is often a lingering stillness that is only interrupted by Fassbender’s increasingly perturbed movement, and only Cotillard has the guile to reign in said eccentricity. Friend-turned-foe Macduff, played by an emotionally-wrought Sean Harris, christens Macbeth the “Fiend of Scotland”.

Nicolas Winding Refn’s Valhalla Rising might have been a touchpoint for Kurzel, especially in a visual sense: the unquenchable mist, the moorish setting, the breadth of visceral savagery, all invoked. Battle scenes could very well be taking place among the Dead Marshes on the boggy road to Mordor. The Scottish setting, not unlike modern times, is always cloudy, or rainy, or dank, but the aesthetic is never mundane — fog is crimson coloured and dynamic. Cinematographer Adam Arkapaw mixes steady shots with a shaky cam effect, mirroring the vacillating levels of order and chaos afoot.

Arkapaw shot the soon-to-be iconic six-minute drug den raid in True Detective season one, and Macbeth revels in similar technical prowess. From sound, to look, to how the film is edited, it’s quite stunning. Scenes showing brutal murder, such as the death of King Duncan, are intercut with instances of solemn hush. A contrast is evident throughout, pitting light against dark (or perhaps it is dark against post-dark). The sound design is worth mentioning too: rallying howls echo with spine-tingling reverence around cavernous cathedral-like rooms.

To the credit of those on and off-screen, it never feels like we’re watching a play. In many ways this is a niche offering; much of the verbiage might not make sense, yet you can’t help but stare. And when what you’re staring at is this good, this impactful, words are almost inconsequential. Here are two more anyway: Hail Macbeth!