Release Date: November 25th, 2015 (US); January 29th, 2016 (UK)
Genre: Biography; Drama; History
Starring: Michael Keaton, Mark Ruffalo, Rachel McAdams, Brian d’Arcy James, Liev Schreiber
At the inception of Tom McCarthy’s Spotlight, The Boston Globe newspaper is in the process of appointing its new editor, Marty Baron (Liev Schreiber). Despite this change, there remains a prevailing emphasis on ensuring the retention of local flavour. More than that actually; in upholding a local backbone prompted by the paper’s titular investigative team and its head man, Walter “Robby” Robinson (Michael Keaton). The aforementioned Baron, blunt yet adept, arrives without any notion of hedonistic aplomb, a trait that reflects McCarthy’s exceptional outing as a whole.
Sometimes the film that resonates most is the one draped in assured, quality simplicity. Though some might disagree with the loftiness of my ranking, such simplicity is what endeared me so much to Stephen Spielberg’s Bridge of Spies. And it’s a similar simple touch that paves the path for Spotlight, a film so rich and so thrilling. McCarthy directs with a stillness, allowing his actors to act and their words to burn into the audience’s psyche without distraction. This trust affords the Spotlight team — Baron, Robby, Michael Rezendes (Mark Ruffalo), Sasha Pfeiffer (Rachel McAdams), Ben Bradley Jr. (John Slattery), and Matt Carroll (Brian d’Arcy James), all real life journalists who, at the turn of the millennium, took the Catholic Church to task over child abuse allegations — a platform to build their case.
Often, the camera diverts our attention towards battered notepads and scribbling hands, distinguishing the individual personalities within the team: tougher to read, Rezendes jots down notes underneath a table while interviewing a victim whereas Pfeiffer writes in plain view, her inclinations clearer and her projection softer. The former is a bundle of journalistic energy, constantly on the move and posing point-counterpoints. Rezendes is immensely dedicated to his craft — they all are, refreshingly — but perhaps more so to aiding the course of justice. He and Robby discuss the need for leisure time and Robby points out Rezendes’ only leisure time is his daily jog to work.
These reporters are studious, careful. They take their time to iron every crease, collating date from victims, legal papers and even Globe archives. It’s true investigative journalism executed with thoroughness, so much so that we feel drawn into the process. The tone is almost anti-Sorkin: there’s an air of justifiable caution on display here that Sorkin’s TV journalism jaunt The Newsroom bypassed in favour of addictive urgency. Both methods work, but the slower approach suits Spotlight’s sensitive subject matter far more (it also implores you to listen, therefore stretches of dialogue are easier to follow than those penned by Sorkin).
McCarthy and co-writer Josh Singer ground such a grand story in local truths — the religious corruption infects a familiar neighbourhood. In any other situation this sort of coincidence might feel contrived, but not here where the sheer breadth of wrongdoing is so painstakingly relayed. Locality doesn’t immunise the team from significant global events; it’s 2001 therefore 9/11 is unavoidable, especially since journalism is our vantage point, and the attack drives all resources away from the child abuse scandal. Gamesmanship between rival city papers further funds McCarthy’s realistic portrayal of the job. If those realities aren’t enough, the reporting process at least thrives on-screen. (Even the aesthetic fits the journalistic groove, tinged with a greyish palette that matches the occupational ambiguity. It feels like a newsroom; we even see a printing press in action.)
Much like The Big Short, which also follows a brand of unethical discovery, Spotlight pointedly plants its ballpoint on one side of the debate. “Knowledge is one thing. But faith, faith is another,” says Cardinal Law (Len Cariou), leader of the diocese, with more than a hint of guiltlessness. McCarthy and co. are not against Catholicism but rather the structural inadequacies of certain segments of the Church, and their evidence is inadmissible. The team announce their respective affiliations to the religion (very little), undermining accusations of bias and offering up a tiny slice of their otherwise unexplored personal lives. And that’s how it should be. After all, this is an investigation and investigations should, ideally, lack personality.
Forget stopping short at admonishing priests, lawyers are also targeted for their mistakes (Jamey Sheridan and Billy Crudup play immoral attorneys opposite Stanley Tucci’s more upstanding lawman). Nor does journalism itself receive a free pass. This is as much a celebration of the profession as anything else, but in order to celebrate there has to be a level of humility. We see political jousting both within the Globe offices and outwith, during which we learn of costly past mistakes. Ignorance is the main allegation and this honesty resonates, adding roundedness to these real life characters who are far from impervious to perfection.
Speaking of which, those in charge of casting ought to be acclaimed for amassing such terrific depth. Apart from a solitary outburst of pent-up rage from Rezendes, powerfully delivered by Ruffalo, the performances are universally restrained. They’re quietly indelible too: Schreiber displays an uncanny knack for convincing without extravagance while McAdams, nominated for an Oscar, bears a warmth free from condescension. Of everyone, Keaton is the one who oozes most occupational comfort (as he should, given he plays the group’s editor), his aura exceedingly knowledgeable.
For this to work, the Spotlight team have to purvey a sense of well-oiled camaraderie and they absolutely do. The same can be said for McCarthy’s film, though to speak of his work just in terms of proficiency would be demeaning. It is proficient; it’s also socially reflective and genuinely gripping. Holes are punched in great institutions with justification, but you won’t find any holes in the story. For all the right reasons, Spotlight may well make you fall in love with journalism.
A rubbish film can bear great performances, but a great film can’t really bear rubbish performances. The actor, in many ways, is the bread and butter of motion picture creation. It is his or her job to take the prescribed raw materials (a screenplay, a set, a prop) and recalibrate those errant parts through personal experience and analytical understanding into a final, visceral product that audiences can — hopefully — relate to or engage with.
2015 was another tiptop year on the acting front, across the board. Mainstream movies, under the radar indie flicks, big budget creations, genre pieces — you name it and there was at least one performance of note. Now that said year has ended and we are hammering down the motorway towards awards season, I think it is worth reflecting on some of those excellent portrayals.
These are my top ten male performances of 2015 (five leading and five supporting). If you so desire, you can check out my celebration of the work done by a few fantastic females here.
A film and lead performance indicative (at least to an extent) of the first sentence in this feature, perennial powerhouse Jake Gyllenhaal elevates Antoine Fuqua’s riches-to-rags-to-riches boxing tale beyond convention. The actor has never really had a bad patch to bounce back from — unlike, say, Matthew McConaughey — but his work in recent years has been McConaissance-esque in quality. In Southpaw he plays a devastated boxer, matching a chiselled physique with a nuanced emotional exterior. It’s a shame his name has dropped out of the Oscar race, because this showing genuinely is a knockout.
It is always a pleasure to sit back and watch smart people do smart things, and Mark Watney fulfils that criteria. The Mars-stranded botanist was originally conceived on the pages of Andy Weir’s novel, and while books by nature offer readers a blank canvas to visualise content as they so please, it is tough to imagine anyone other than Matt Damon as Watney. He purveys a resilience that endears, a wit that encourages laughter, and an occasional serious streak that demands wholesale sympathy. Good thing too, given Damon spends the majority of the two and a half hours on-screen by himself.
Giving a personal face to an Aaron Sorkin screenplay seems difficult enough, but turning the notoriously hard-headed Steve Jobs into someone we can somewhat relate to is something else entirely. Michael Fassbender does just that as a specific version of the Apple genius — the showman — taking us on a journey through three product launches and three personality evolutions. There is a magnetism to the way he interacts with those around him as well as an initial, purposeful iciness that naturally melts into generous acceptance. Between this and his headline role in Macbeth, Fassbender’s had a strong year.
Transformative performances are in vogue in the world of Eddie Redmayne and it’s clear to see why: he is very good at them. Redmayne is back among the awards chatter having opened 2016 as transgender pioneer Lili Elbe in The Danish Girl, but his early 2015 portrayal of Stephen Hawking in The Theory of Everything is the superior of the two. The actor is exposed for all to see as the physicist, with very little to fall back on. His co-star Felicity Jones brings beautiful subtlety to Jane Hawking, the inverse of Redmayne’s painstakingly physical delivery. He won the Best Actor Oscar early in the year, and justifiably so.
1. Oscar Isaac — A Most Violent Year
While Redmayne and co. celebrated the industry recognition afforded to them via golden statuette, Oscar Isaac found himself devoid of even an invite to acting table. Criminally overlooked as struggling businessman Abel Morales, in A Most Violent Year Isaac — and I mean this with absolute sincerity — nears an Al-Pacino-in-The-Godfather level of performance. J.C. Chandor’s script is cool and careful, affording Isaac a platform to excel from. Abel’s aura is built upon composure and a need to maintain moral correctness, but shots are occasionally fired and with real menace. Isaac ensures we never dislike him though, which is saying something given the murky presence of vehicle hijackings and loan sharks. It’s not a showy performance, simply an utterly engrossing one indicative of a genuine movie star.
Special Mention: Steve Carell, Channing Tatum, Mark Ruffalo — Foxcatcher
Major props ought to go to the trio at the forefront of Bennett Miller’s Foxcatcher, all three as worthy of a top five spot as any. Ruffalo reverberates with awkward allure, playing someone who is keenly aware that his younger sibling could be as talented a wrestler as he. As said sibling, Tatum infuses the nominal jock archetype with a sense of unyielding desperation and highly sought after humanity. And Carell swaps bumbling comedy for haunting creep, dressed in a prosthetic getup that disguises his usual cheeriness and instead promotes true horror.
It has been a terrific year for Isaac — he’s also great in an underserved Star Wars: The Force Awakens role — one that got underway in Alex Garland’s mind-prodding Ex Machina. Like Foxcatcher, this is another outing bolstered by three capable performances (and, indeed, a whole lot more). Isaac juggles a host of familiar attributes, from a macho physicality to a technological savvy to a weariness brought on by wealth, and it is fitting therefore that we can never quite pinpoint his mindset at any given moment. The untamed beard helps too.
You’ll do well to find a more charming male protagonist this year than Tony Fiorello. He is the ideal boyfriend, nurturing but not overly invasive, and never a sappy thanks to Emory Cohen. Aided by Nick Hornby’s wonderful screenplay, Cohen brings a commendable amiability (particularly commendable when you consider who he acts opposite — the interminably delightful Saoirse Ronan) and a retro flair akin to that of James Dean: the wavy hairdo, the cheeky grin, the enigmatic charisma. It’s all there.
There is very little else that can be said about J.K. Simmons’ Oscar-winning turn as a maniacal music teacher in Whiplash, but I’ll say some more anyway. Having carved out a career playing bit part supporting roles, it feels right the most critically acclaimed turn of the actor’s career is his meatiest supporting stance to date. As Terence Fletcher, Simmons strikes fear into not only the mind of Miles Teller but of viewers also, unleashing a poised (and then not-so-poised) ferocity conceived in a pair of all-knowing eyes. No rushing or dragging here.
Mystery is the key to Benicio del Toro’s negotiation-avoiding brute. In my review of Sicario, I lauded his performance as follows: “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.” That is to say, he’s quite good.
Like the aforementioned J.K. Simmons, Mark Rylance has never really be one to court the cinematic limelight. He has primarily plied his trade in theatre, but there is nothing theatrical about his portrayal of potential Soviet spy Rudolph Abel in Steven Spielberg’s Bridge of Spies. Precision is key; you can’t keep your eyes off Rylance because every inclination, every stutter, every action appears to have some sort of meaning. The chemistry he shares with Tom Hanks — another would-be worthy addition to any celebratory list — breeds authenticity across a companionship that might otherwise have felt cold. Full Marks.
Why do they get nine out of ten of her dollars? Those are the words that spring from the mouth of Keira Knightley’s Gretta, a talented musician with a newfound shrewdness for business economics and life in general. Her question is aimed at record label producer Saul (Yasiin Bey aka Mos Def) who likely knows more about the dials on an Auto-Tune system than he does real musical verve.
But this isn’t a straightforward examination of the successes and failures of the contemporary music landscape. That is an underlying — and at times on the nose — theme, but not the film’s primary prerogative. Begin Again is more tuned into people, and how the relationships between those people unfold within a high intensity city, surrounded by an even higher intensity business.
We begin with an impressive James Corden as best friend Steve, encouraging a reluctant Gretta to get up and play one of her songs in a dingy New York City bar. She’s good, but through the murmurs and glass-smashing nobody takes much notice. Apart from Dan (Mark Ruffalo), who looks a little worse for wear. Dan, as it transpires, is a struggling record producer and former partner of the aforementioned Saul. Differing business models caused the split, a common occurrence in Dan’s life — he is also separated from his wife and bears the brunt of a friction-fuelled relationship with his daughter. Alcohol is his solution, which leads him to a dingy New York City bar.
And then we begin again, only this time our two central characters arrive imbued with backstory. The non-linear storytelling technique used early in the film is one of a few nuances implemented by director John Carney that help to maintain the freshness of what otherwise might be an occasionally dour narrative. When we first meet Gretta and Dan their individual baggage is evident, and because both Knightley and Ruffalo instantly come across empathetically, our affection greatly increases as their bad experiences are unveiled.
Dan is at odds both personally and professionally. He lives alone in a dank apartment that has probably seen more hangovers than clean bed sheets. Much to his ineffectual chagrin, his daughter Violet (Hailee Steinfeld) wears attire unsuitable for school. “Jodie Foster from Taxi Driver,” is Dan’s unsavoury description. It’s a good thing Gretta is around to interject as wardrobe advisor in between bouts of album recording.
Gretta used to be outgoing and inspired until she and ex-boyfriend Dave Kohl (Adam Levine) unceremoniously severed ties. She becomes those things again when in Dan’s company, but their partnership thankfully doesn’t venture down generic romantic channels when you get the feeling it might. Carney, who directed and wrote the screenplay, has form in the genre — he helmed the much lauded indie music-drama Once, and puts the positive expertise gained from that to use here.
Ruffalo and Knightley excel individually and collectively. Ruffalo is particularly full of off-kilter charm as the scruffy music lover trying to maintain originality in an increasingly banal industry. When the actor is in his element — quirky, unfiltered and eccentric — he is really great, and he’s in his element for the duration. In a tough role to get right, Knightley manages to be genuinely likeable. It is a characterisation that can have thankless, mopey elements, however Knightley carries Gretta with realistic ambition — her talent is never really in question, just her own personal desire to work on an album — therefore we don’t have to sit through endless hurdles of self-doubt.
That being said, from a broad perspective the film does exist in a picture perfect world. Even though Dan is no longer with his wife, terrifically portrayed by Catherine Keener, the duo still have a budding relationship (in other words, they get along more than they argue). Gretta, on the day before she is set return to England, somehow finds herself playing her own song in front of the only guy willing to take a punt on her. Despite a quip about possible rainfall, the sun also always seems to be shining. However, any potential misgivings regarding circumstance play second fiddle to engaging performances and otherwise unsentimental storytelling.
Bubbling underneath all the character drama (you could say it is the film’s bassist) is a plot about the commercialisation of the music industry. Dan is the victim of this shift away from ingenuity, a notion captured in a funny yet somewhat overtly glaring scene that sees the song scout try unsuccessfully to remove wall “art” from his record label premises. “We need vision, not gimmicks,” he bemoans having just endured an endless stream of overproduced pop demos.
As an A&R man, there is also a compelling dynamic between Dan and Gretta. In an electric conversation over drinks, we can literally see Dan squirm around on his stool as he talks about compromising in order to, “Get people in [the door] before the music can do its work.” In a way Gretta is more of a purist than he, though that might be expected given she is the artist.
The proverbial ‘bad’ side of modern music is embodied by a bizarre record exec who flaunts that cocky Bradley Cooper vibe from American Hustle. Carney does afford some leeway to the idea that music and money are worst enemies by including the horrendously named Troublegum (CeeLo Green), one of Dan’s prized discoveries who still has his back. This allows for a hilarious impromptu rap scene that probably accurately reflects how CeeLo converses in real life.
The New York setting serenades the film with helping of authenticity — while doing press for the movie, Knightley spoke of how the crew adopted a guerrilla filmmaking style when shooting in back alleys and on rooftops. The songs themselves are woody and energetic, and certainly mirror Dan’s desperation to save the spirit of music. The soundtrack isn’t as earthy as something like Inside Llewyn Davis, or even Crazy Heart, but like in those films, the songs do play a part in ensuring proceedings don’t begin to flounder.
Begin Again balances carefully developed characters and musical intermissions with a somewhat stinging appraisal of how music is produced today. Gretta simply wants to write songs and release them for anyone’s consumption. She would charge as little as a dollar for her album. By the way, you can purchase Begin Again’s year-old soundtrack for £5.99 on iTunes. Huh. At least the film itself sticks to its admirable laurels.
Release Date: April 23rd, 2015 (UK); May 1st, 2015 (US)
Genre: Action; Adventure; Science-fiction
Starring: Robert Downey Jr., Chris Evans, Chris Hemsworth, Scarlett Johansson, Jeremy Renner, Mark Ruffalo
When Marvel rolls into town, you can absolutely expect two things: sarcastic humour and blistering action. The first phase of Kevin Feige’s super-cinema initiative had both of these in abundance. Iron Man brought the wit, Thor the hoopla and while Hulk mainly sulked, Captain America struck a balance between fun and funny. Phase Two, especially since The Winter Soldier, has provided something even more. Sure, those characteristics are still plentiful but now that the franchise’s myriad of characters have had time to flex their muscles — or branches — storytelling has the stage.
In a way, Avengers: Age of Ultron is the perfect amalgamation of everything MCU-related up until now. It is formulaic in the sense that you know the narrative structure before the lights go down: early energetic sequences designed to engross, a meatier, more reserved middle section, and finally a ball-busting finale. That’s not just superhero cinema, that’s action cinema. The antithesis of formulaic, however, is how director Joss Whedon almost manages to divulge equal spotlight to the most star-studded cast on the silver screen.
We re-rendezvous with the Spandexed Six during a battle in the frosty forests of Eastern Europe, where ardent anti-swearer Steve Rodgers (Chris Evans) is calling the shots. The raid is a success, thankfully, with the Avengers managing to obtain Loki’s sceptre. It’s an opening scene worthy of closing many a superhero jaunt, packed with effervescent camera work and some fist-pumping teamwork: Cap and Thor’s shield-hammer double team manoeuvre is a particular highlight. The Asgardian receives the least amount of screen time, certainly it feels that way, which is a shame as Chris Hemsworth’s gallant personification has become a wholesome source of entertainment.
As it turns out, Loki’s magic stick is the final piece Tony Stark needs to initiate his Ultron program, a system designed to defend the world from extraterrestrial threat. Stark’s unfiltered approach, driven by his insistence on protecting others and living up to expectations, ends in disaster when the artificially intelligent Ultron (James Spader) embarks on a violent purge of humankind.
The film fragments its characters when they’re not in the process of resisting their machine-bodied, prescient enemy. Hawkeye finally gets his chance to shine as a result, and Jeremy Renner hits the mark when it comes to emotional beats and wry comedy. A scene towards the end is one of the funniest of the entire franchise, this down as much to the actor as the writing. It pits Hawkeye, bow in hand, directing murmured threats towards a companion (“Nobody would know”). Nobody would.
The bowman has largely been ignored up until this point because he is just that, a supremely skilled man with bow. By inconspicuously embracing this notion, Whedon and company essentially break the third wall. Under the guidance of many others, playing the ‘normal guy challenging adversity’ card might have come across as cheesy and cheap, but Renner’s earnestness encourages us to believe in the character.
Draped in American patriotism and outdated chivalry, Captain America once could have flailed in the same situation — embodying an unrealistic symbol of humanity. Fortunately, since his initiation back in 2011 Chris Evans has injected palpable authenticity into Cap, and here we watch Evans evolve into a true leader with stature and assuredness. Even the egotistic Stark quips, “Actually, he’s the boss”. The piece is littered with Civil War previews built upon the duo’s clashing ideologies, paving the way for another Captain America instalment currently brimming with potential.
Age of Ultron, despite the customary destructiveness, is actually at its most compelling when it hones in on the people involved. It’s basically a quarter of a billion dollar psych evaluation, with relationships tightened or, as above, hollowed. Mark Ruffalo maintains his best-Hulk-yet aura, often sharing solid romantic screen time with Scarlett Johansson’s Black Widow. Elizabeth Olsen and Aaron Taylor-Johnson are the latest lover-to-sibling converts, following on from Shailene Woodley and Ansel Elgort. The Godzilla co-stars play Wanda and Pietro Maximoff respectively, both welcome additions despite some shaky accent work.
As the main villain, James Spader has stumbled into an almost impossible task. Tom Hiddleston’s Loki managed to eclipse convention by being devious and charismatic in equal measure. Computer generated Ultron is a bad entity, plain and simple, and Spader’s croaky voice is packed full of calm menace, which works really well. But comparison, perhaps unfairly so, is inevitable and the character isn’t as enticing on screen as Loki.
The main problem abound throughout Age of Ultron is a familiar one: in handling so many characters, Whedon must oversee the lighting of touchpaper for multiple story arcs. You can feel the film seeping at the seams on occasion, with so much being rammed into such a short window (though, ironically, two and a half hours is normally an overindulgent runtime). Resultantly, some of the goings-on are left underfed. Hot off heels of Alex Garland’s probing science-fiction parable Ex Machina, the AI story told between Ultron and the Vision here isn’t quite as fascinating as recent evidence suggests it could have been.
Not consigned to resting on its opening sequence laurels, the piece ups the ante even more during a blistering, if somewhat disorienting, conclusion. You do get the sense that the stakes are shuffling their way up a notch the longer the clash between our Avengers and Ultron’s robot army goes on. By the time Brian Tyler and Danny Elfman’s booming score coalesces with Ben Davis’ now signature circular shot, goosebumps are flourishing. We’ve seen it before, and yet it carries no less weight this time around.
This is a Marvel film first and foremost, and a properly pulsating one at that. We live in a cynical world when it comes to big budget blockbuster movies, and at $300 million this is a very big budget blockbuster movie. But it’s one that doesn’t discriminate against proper storytelling and intelligent character development in favour of the extra exploding vehicle. Prompted by a build-up where hype levels usurped dollar bills, Age of Ultron matches expectations — at least, for my money.
Starring: Channing Tatum, Steve Carell, Mark Ruffalo
You could single out any number of attributes and relate them to Bennett Miller’s directorial portfolio, but depth wouldn’t be one. The New Yorker has created four films since 1998 and, at a rate of one film every four or five years, Miller obviously doesn’t take job choices lightly. After a seldom seen documentary feature called The Cruise (1998) and his critically acclaimed biographical drama Capote (2005), Miller tried his hand at exploring the inner workings of American sport on the big screen. Moneyball (2011) was polished and affecting, but never set out to irritate because it was never meant to be that kind of story, just as baseball isn’t that kind of sport.
Foxcatcher, on the other hand, is that kind of story. Whereas Moneyball told a consumable tale that reflected the everyday popularity of baseball, Miller’s latest piece bathes in the sweaty discomfort and disassociation of wrestling. It’s uncensored, but subtly so. It’s damn good too.
Mark Schultz (Channing Tatum) is an amateur wrestler. We first meet him as he somewhat timidly relays semi-encouraging words to a less than half full hall of school children. Perhaps timidness is the wrong adjective. Mark isn’t necessarily a shy person, but his inability to open up is reflected in his distanced demeanour. All he knows is an everyday, basic existence. And amateur wrestling. Tatum excels as the hard-boiled grappler, his physicality more than matched by a powerhouse emotional range that develops alongside the story. He hobbles as you’d imagine a wrestler would, and wears sweatpants and an unforgiving exterior in and out of the gym, unlike the more outgoing Dave.
Dave Schultz (Mark Ruffalo) is Mark’s older brother, the man Mark is filling in for during the opening scene. Dave is also an Olympic champion and, for one reason or another, the more popular brother. Ruffalo brings an awkward charm to the role; we’re instantly drawn to him as he graciously interacts with American wrestling officials, Ruffalo dragging his toes as he shakes hands as if to highlight an inert clumsiness. The siblings train shortly thereafter, and Foxcatcher unleashes its first taste of the brutish sport — as Dave gets the better of Mark the latter lashes out, emphasising Mark’s simmering displeasure towards his overshadowing older brother.
Both men receive the opportunity to head up an all-American wrestling team at Foxcatcher farm, funded by John du Pont (Steve Carell). “Du Pont, a dynasty of wealth and power”, are the words that echo from a History Channel-esque montage about the rich family. Mark accepts, aspiration outweighing alertness, whereas family man Dave rejects. Though the film breeds an air of morbidity from the outset, it really kicks into gear upon the arrival of a terrifying looking du Pont. The three primary actors deliver wholly, but it is Carell’s skin-crawling turn as the internally maniacal financier that’ll stick in the memory and continue to probe long after the final pinfall. Assisted by facial prosthetics more suited to the latest House of Wax horror instalment, Carell maintains false poise that’s ready to burst. He’s devilish and utterly detestable.
Miller’s film teases the inevitability of chaos bred from a relationship between the three men, but refrains from delivering on the fact until the final act. Much of the first hour and a half of Foxcatcher instead focuses on the relationship between du Pont and Mark, a partnership that is clearly on iffy terrain from go. Their first face to face meeting at the farm is one of a catalogue of tension filled moments; du Pont sells his wrestling project to Mark (the multimillionaire wants to foster a gold medal batch of grapplers) under the guise of honour and patriotism. Rob Simonsen and West Dylan Thordson’s score is noticeably absent here as we hang on du Pont’s every word in tandem with Mark.
Although the screenplay relays a number of striking lines — “Horses are stupid. Horses eat and shit, that’s all they do” is a particular stand-out that comes from the mouth of du Pont, breeder of amateur wrestlers — the piece doesn’t necessarily rely on words to succeed. Rather, it’s about tension and ambiguity and the toxic atmosphere burning the three men involved. The overarching moodiness serves a purpose, but it is also a necessity given the real life framework. Foxcatcher resembles David Fincher’s Gone Girl in many ways, though the Gillian Flynn-penned film alleviates tension via brief moments of humour, unlike Foxcatcher. This incessantly serious approach works given the context, and Miller’s tactful management of the potentially tricky sullenness is a true masterclass in pressure-building on screen.
Taking all of the above into consideration, it’s unsurprising that the camera refuses to shy away from raw moments — shots are dynamic when showing matches and totally still otherwise. Greig Fraser’s cinematography effectively positions the audience in amongst any wrestling and as such captures the fleshy warring in full flow. Both Tatum and Ruffalo ought to be commended on their very immersive abilities, and it’s also worth noting the most horrifying celebratory expression in recent memory from Carell after a victory.
The culmination is game of pawn playing, a deliberation of moral values, and of blind understanding. Three men are at the forefront, their rapport with each other and with amateur wrestling challenged. Foxcatcher might only be Bennett Miller’s fourth film in almost 20 years, but it is absolutely his most accomplished.
Guess what the next genre is? It is a mystery, isn’t it? No, it really is a mystery. Okay, enough of the shockingly bad jokes.
Not one of the more prominent genres, mystery tends to flirt around the edges of just about every other genre, without actually sticking out. However, there are a number of films which are defined by their mystery element. Personally, I am drawn towards films containing a mysterious element over most other types of films — mainly in the hope that such a film will keep me guessing all the way until the end.
Mystery films tend to be hit or miss — either the outcome of whatever mystery is going on is surprising or shocking or entertaining, or it is not. It will be to nobody’s surprise, then, that the five films on my list I consider to be five hits.
I have decided to change the format slightly from my previous Genre Toppers posts. The reasoning behind this is that I think reading large paragraphs over and over again can sometimes get a bit tedious, so hopefully this change will keep things more interesting. This newer format seems to work well with the mystery genre in particular, but who knows — I may use it again in the future.
From the acclaimed director David Fincher, Zodiac tells the story of one of San Francisco’s most notorious serial killers, known only as the Zodiac. Boasting a strong cast containing Robert Downey Jr, Jake Gyllenhaal and Mark Ruffalo, the film depicts the events surrounding the police investigation into the murders carried out during the 1960s and 1970s, and why the murders were occurring.
Where The Mystery Lies
Who is the serial killer known as the Zodiac, and what do the cryptic clues being sent to the police mean?
Three Top Five Clinching Reasons
Fincher’s target audience: Interestingly, Zodiac is David Fincher’s second-highest rated film on Rotten Tomatoes with 90% of critics enjoying it (second only to The Social Network at 96%), whereas it is Fincher’s lowest revenue-taking film, grabbing only (yeah, only) around $85 million worldwide. Why? Primarily because Fincher aimed the film towards a typically older audience, rather than playing up its slasher element and in turn appeasing only “16-year-old boys,” as Fincher put it.
Style and the 70s: Obviously I was not around in the late 1960s/early 1970s in order fully understand what those years were like, but Fincher certainly goes a long way to making sure Zodiac captures the tone and style of them. Everything from smoky newsrooms to wacky attires are in full display here, and although the film lasts over two and half hours, it is worth watching at that length just to enjoy the cinematography.
Delightful dialogue: The performances from the three leads in Zodiac are very convincing, and this is helped in no small part by the deliberate and encapsulating script the actors exchange between each other. Fincher has a knack for using excellent, well-crafted scripts (take Se7en and The Social Network as two prime examples) and Zodiac is no different. Gyllenhaal, Downey Jr and Ruffalo do the film and its words justice — in fact, the positive audience reaction combined with the lack of a well-rounded ending proves just how well the actors and writers have done to make the film so enjoyable.
A slick, stylish and slow burning mystery drama, Zodiac keeps audiences interested through its exceptionally well-strung dialogue and interesting performances.
Released in 2009 and directed, written and produced by Stuart Hazeldine, Exam takes place in an alternative history and is set almost entirely in one room where a group of eight very different people must use their initiative to gain the employment they each desperately desire.
Where The Mystery Lies
The eight candidates are given one piece of paper and are told that the exam only consists of one question… but what is that question, and what is the correct answer?
Three Top Five Clinching Reasons
Unknown cast: A problem a film can sometimes face when it boasts a worldwide star is that the audience do not believe that such a level of star can actually be the character they are portraying (particularly if the character is a normal, everyday person). Exam benefits from a relatively unknown cast — apart from Colin Salmon, although he does not appear very often throughout the film, making his character seem even more important and separate from the candidates. The candidates themselves each bring their own nuances to the table, coming across as genuine employment seekers and making the film much more believable and engrossing.
Simplicity is key: As you can probably gather from the synopsis above, the plot of Exam is very simple: eight candidates, one job, one question. That is it. Not only does this make the film easy to follow, it places more emphasis on the situation the characters find themselves in and adds focus to the characters themselves (in essence, this film is a character profile). The mystery is also heightened because it is not confusing — rather, it is intriguing.
Perfect pacing: Hazeldine ensures the film does not dwell on particular plot points, moving things along before they become stagnant, and coming back to events if need be. Again, this keeps the flow of the film just about right and ensures the audience’s attention is grasped and maintained. Also, the progression of the plot and the characters are both very well handled, generating more and more tension until the atmosphere becomes just about unbearable.
Exam is the perfect example of how to make a small, low budget film with a simple plot and still be able to keep it intriguing, leaving the audience on the edge of their seats.
Sherlock Holmes (2009)
Guy Ritchie helms this reboot of the Sherlock Holmes franchise, starring Robert Downey Jr as Holmes, Jude Law as Watson and Rachel McAdams as former adversary Irene Adler. The story follows Holmes and Watson as they attempt to uncover the perpetrator of a series of violent murders and prevent this perpetrator from taking over the British Empire.
Where The Mystery Lies
Holmes and Watson must decipher how their familiar foe plans to control the British Empire — but how has the murderer returned from his apparent execution?
Three Top Five Clinching Reasons
At home with Holmes: Robert Downey Jr plays an enormous part in how enjoyable this film is — his portrayal of Sherlock Holmes is one of wit, intelligence, controlled chaos and downright hilarity. We are all used to seeing Downey Jr in charismatic roles (as Iron Man, for example) and here he seems completely in his comfort zone, which shows by way of his mesmerising depiction of Holmes — rivalled only by Benedict Cumberbatch’s portrayal in the hit television series, Sherlock. But not all the praise must be solely heaped on Downey Jr, as Jude Law is very effective in working as a buffer for Holmes to play off of. Mark Strong is as menacing as always playing the villain of the piece and Rachel McAdams is delightful as Irene Adler.
Visually unique: The cinematographers and set designers deserve a vast amount of compliments for their old-fashioned-yet-energetic set pieces. It is a tremendous achievement in making London appear as it did back in the 19th century, but at the same time upholding a sense of freshness. Craftsmanship at its finest, if you ask me. Also, the slow motion fight sequences look effortlessly assembled and add an extra dimension to the film.
Action-packed: Guy Ritchie certainly does not hold back in terms of fight scenes (there are plenty) and explosions (they are in there too). At its simplest, Sherlock Holmes is an entertaining action film with plenty of well-choreographed physical encounters and a fast-moving plot which keeps the action going and prevents the film from losing its momentum. The action takes place everywhere too — from underground to occult chambers to the top of massive cranes.
Quick-witted, funny, sometimes silly, but always entertaining — Sherlock Holmes is just about everything you expect from a Robert Downey Jr-led film.
Shutter Island (2010)
Based on the novel by Dennis Lehane, Shutter Island sees Martin Scorsese team up with Leonardo DiCaprio for the first time since The Departed in 2006, and the fourth time overall (soon to be a fifth, with The Wolf Of Wall Street hitting cinemas in late 2013). DiCaprio stars alongside Mark Ruffalo as two U.S. Marshals — Teddy Daniels and Chuck Aule respectively — who attempt to uncover the mysterious happenings on Shutter Island.
Where The Mystery Lies
Daniels and Aule must find out the whereabouts of a missing patient, but what is the real reason they have been summoned to the island? (That is all you are getting, sorry!)
Three Top Five Clinching Reasons
Creating a separation: The chemistry between DiCaprio and Ruffalo is very underrated here, in my opinion. It is obvious that the two are outstanding actors, which is once again apparent in this film, but they also work exceedingly well together, in turn creating a sense of disconnect between themselves and the rest of the residents of Shutter Island. This is essential to the story, and thus the performances from both DiCaprio and Ruffalo (and also Ben Kingsley to be fair, who plays Dr. John Cawley) are a key part to the success of Shutter Island.
Shudder Island: There is an eerie and unnerving atmosphere generated throughout this film, and the creep factor increases as the film delves further and further into the mysterious happenings on the island. The film switches for brief moments to an almost comedic tone, but that tone is swept away by dread almost as soon as it begins. The unnerving atmosphere is aided, of course, by the sense that the two U.S. Marshals, although called to island by those on it, are alone and not wanted.
Musical mayhem: Another major player in the eerie atmosphere, the musical involvement in Shutter Island is as close to perfect as possible. From the foghorn sounding booming interludes throughout, to the seemingly out-of-place uplifting belts of opera (which completely add to the intentional confusion and lack of transparency during the film), the score is outrageous-yet-brilliant.
I am a big fan of when DiCaprio and Scorsese work together because they always deliver, and Shutter Island is no different — in fact, it is my personal favourite output produced by the combination of the two.
The Prestige (2006)
From the man who brought us The Dark Knight trilogy and Inception, comes The Prestige, starring Hugh Jackman, Christian Bale and Scarlett Johansson. Jackman and Bale play two previously partnering magicians who have turned fierce rivals after an accident split the pair up. It is the ultimate battle of wit and nerve as each magician aims to better the other by creating and performing the greatest illusion of all time.
Where The Mystery Lies
It is a film about magic, right? Well, not entirely. Although a mystery element does exists and runs throughout — just how did he do it? (Again, that is all you are getting — I really cannot give too much away here!)
Three Top Five Clinching Reasons
Coming full circle: It would be a crime for me to sit here and write about what happens during the climax, because it is masterfully accomplished on-screen in my eyes. Everything from the beginning through to the main act (pun sort of intended), to the dialogue during the film build up to a quite extraordinary revelation, and one which I got nowhere near figuring out. I do not want to overhype the ending so much so that it will be an inevitable let down no matter what, but trust me, it is very good and it perfectly polishes off the non-linear plot the film possesses.
Caring about characters: Nolan allows each character to breathe (much like he does in the majority of his other films) and this allows each actor — even those whose characters only play a minor role — to fully develop their role and ensure the audience can become emotionally invested in them. The dynamic between the two duelling magicians, Robert Angier (Hugh Jackman) and Alfred Borden (Christian Bale) is electric at times, and the lengths they go in order to get one up on each other become believable due to the hatred Jackman and Bale successfully generate. Less prominent characters such as Michael Caine’s stage engineer, John Cutter, and Rebecca Hall’s Sarah Borden, Alfred’s wife, add further layers to the main duo, whilst Scarlett Johnasson’s Olivia Wenscombe acts as a spanner in the works.
More than just magic: As I mentioned above, although The Prestige contains a lot of magic, that is not the primary focus of the film. For me, the primary focus is the tumultuous relationship between two men and all that their relationship embodies, in terms of trust (or lack thereof), deceit and jealousy. Using magic as a background their relationship and these characteristics bolsters the overall plot, but it is the three aforementioned factors which give The Prestige substance.
When talking about mystery the first destination is always magic, and The Prestige is Christopher Nolan’s way of pulling a rabbit out of the hat — just when you think he is being slightly over-ambitious, he absolutely nails it.
So there you have it, five excellent mystery films. Here are some honourable mentions:
Final Destination (2000) — Okay, this one is a bit of a cheat (pun intended). But in all seriousness, although Final Destination is technically a gross-out horror, it does have that mystery element to it ensuring that it does not just become a gore-fest. Which is basically does anyway. I tried.
Phone Booth (2002) — Similar to Exam in the sense that it is primarily set in one location, Phone Booth is intense and pacey, with a decent lead performance from Colin Farrell and an extra creepy voice-only performance from Kiefer Sutherland.
The Da Vinci Code (2006) — At approaching three hours long, The Da Vinci Code had a fair amount of people almost sleeping, but I enjoyed it quite a bit. Tom Hanks is a guy I could watch acting all day long.
A Perfect Getaway (2009) — This is about an hour of really disconcerting build-up surrounding three couples, one of which has a murderous streak. Then it goes a bit too action-like and loses some momentum. Regardless, a solid whodunit outing.
Devil (2010) — The mystery genre does tend to attract those single-location films, and we have another here, in Devil. Five people, one elevator and one devil… but who? A rare M. Night Shyamalan appearance in my blog.