The Island

A man goes on the run after he discovers that he is actually a "harvestable being", and is being kept as a source of replacement parts, along with others, in a Utopian facility.

Michael Bay is not a name that is frequently associated with films that are particularly profound. The Island doesn't buck this trend entirely, but does more than enough to cement its place as his most cerebral work to date.

The science fiction aesthetic at work here is by far the easiest with which to suspend disbelief. The environments are futuristic, but not so much so that the world feels alien at any point. There are, however, some issues with consistency in the dates given for when these events are taking place, but the specifics are not where the film's magnetism lies.

The story is centred on a moral dilemma, posing a number of philosophical questions in the process. It also taps into a topical discussion on the implications of growing replacement organs and the kind of scenarios that this might lead to. The breadth of the exploration isn't particularly far-reaching, but is mostly responsible for the more intelligent elements of the film. It gives the rest of the action a weightier feel, preventing this from becoming just another explosive romp completely devoid of a brain. It won't keep you up at night, but the plot is sturdy enough to provoke at least some contemplation as the narrative plays out. 

There is a noticeable shift in pace after the initial scene setting has been done, the action set pieces coming thick and fast. Bay tends to split opinion as a film-maker, but there can be no doubt that he is very good indeed at what he does. There are sometimes criticisms levelled that the sequences he brings to the screen are somewhat repetitive across movies (think highway chase scenes with cars being flipped like Matchbox toys and a skyscraper's worth of breaking glass). There may be some credence to this, but for me, it doesn't make it any less breathtaking to experience when the picture is in full flow.

As for the performances, all concerned put in decent displays, with the highlight being Steve Buscemi. His ability to carry a scene is just as potent here as it has ever been, bringing some light relief in the process and pushing the movie forward. The remainder of the supporting cast also throws up some pleasant surprises, the childlike attitude of a few of the characters affording ample opportunity for the actors to have some fun.

The Verdict:

7/10
An action flick with at least some semblance of intelligence. High octane is the order of the day and it's done with both style and audacity.

Stay

This movie focuses on the attempts of a psychiatrist to prevent one of his patients from committing suicide while trying to maintain his own grip on reality.

Films of this ilk are few and far between, but those that I have seen range from the successful to the downright jaw-dropping. Stay nestles somewhere between these two in terms of quality and uses the strength of its atmosphere to full effect.

Conveying a sense of disconnection with the world in which the characters find themselves can be achieved in a variety of ways, but the most powerful and effective is in the editing. This also helps a great deal in avoiding audience bewilderment, as it's clear when a shift in reality is taking place. This particular film is stunningly edited at times, seamless transitions between different locales and events being achieved through a variety of inventive methods. Usually it's a craft whose success can be marked by it going unnoticed, but in instances such as these, the more self-aware it is, the better. It's difficult to convey how well constructed the film is without giving away any major plot points, which in this case more so than many others, would really be of detriment to the experience.

There's an impressive amount of plot covered in a relatively short space of time in this flick. Rather than resulting in any feeling of being rushed, it's written in such a way that this only adds to the sense of claustrophobia that characterises the picture. From gentle beginnings it soon plunges us into a world that, although tangled and sometimes confusing, is never completely out of reach of understanding. The main roles also do a lot to assist in this respect.

Ryan Gosling is very near the top of my list of favourite actors. He has the ability to light up a room, but also to suck the life right out of it should the need arise, sometimes even in the same scene. He certainly does much more of the latter in this instance and lifts the film at least somewhat beyond what it may have been able to accomplish without his considerable gravitas. His desperation is in turns both mysterious and moving, driving the plot with no small amount of brooding purpose. There are no bad showings to be found here, but Gosling routinely steals the scenes of which he is a part, leaving others in his shadow.

The pace of the film is more or less perfectly judged. The manner in which it gradually reaches its conclusion is handled with timely precision, revealing just enough at the right times to bring clarity to the situation piece by piece. This is absolutely essential to the movie's success and the gathering pace was enough to have me on the edge of my seat more than once.

Making a film that borders on the challenging, whilst also being capable of sustaining a high level of entertainment is a difficult task. It's pulled off with great aptitude here and I'm sure it's one that I'll be feeling the urge to see again before too long.

The Verdict:

7.5/10
A masterfully constructed film that is characterised by a heavy, claustrophobic atmosphere, and a brilliantly magnetic performance from Gosling.