A mysterious Hollywood stuntman, mechanic and getaway driver lands himself in trouble when he helps out his neighbour.
Nicolas Winding Refn is fast building a proven track record in working with the best young(ish) actors in cinema. Having previously brought a snarling, bestial Charles Bronson to the screen by way of Tom Hardy, Drive now sees Ryan Gosling's moody, enigmatic cool used to full effect.
There are a number of factors that make the film stand out from the crowd, though that's not to say that it feels completely original in all respects. The 80s flavour that infused Refn's earlier film, Bronson, is very much present and accounted for. As with that picture, the soundtrack is used to augment the atmosphere, but also to surreptitiously signal changes in mood and action in the plot. This is not in the sense that it's an indication of what the reaction should be, more that it sometimes complements, but at others provides a severe contrast with, the more affectionate moments that take place. Stylistically, too, the production harks back a few decades, title fonts presented in hot pink and the anti-hero's costume just as much of an anachronism as the mobsters that he finds himself entangled with.
The movie also has a definite rhythm to it. The first half is packed full with a seemingly ordinary love story, though the mood soon darkens, revealing a much shadier side to both the nameless driver and the film itself. It's this transformation that is the most striking quality of the plot. Gosling morphs from shy young lover to vengeful and ultra-violent in a heartbeat. It's a testament to his skill as a performer that this never feels unnatural, his screen presence providing the impression that he is capable of this kind of brutality, even when sharing tender exchanges with a prospective lover.
The pace is fairly sluggish as flicks that find this kind of popularity go, particularly between the opening sequence and the point at which the atmosphere changes. Prolonged shots and lingering focus on some events of the story are conspicuous in the emphasis placed on them. This not only rounds out the character of the driver, but also sharpens the contradiction between the two distinct halves of the film.
The latter half pulls no punches in the depiction of ferocious and often sadistic bloodshed that ensues. It's a constant battle for the driver to keep his emotions and boundless fury in check. Once again, Gosling comes into his own here, and it's a joy to watch as he uncontrollably trembles with rage confronting each of his antagonists. These instances punctuate the more deliberately paced scenes perfectly and this amplifies the slightly guilty, heart pounding thrill as revenge is exacted.
It's easy to see why this became the sleeper hit it turned out to be and I look forward to the upcoming second collaboration between Refn and Gosling, Only God Forgives, with great anticipation.
The Verdict:
8/10
An incredibly stylish flick that is very successful in its use of pacing. Gosling is superb, showing his darkest side yet and further proving his already considerable worth. Highly recommended.
When a debt puts a young man's life in danger, he turns to putting a hit out on his evil mother in order to collect the insurance.
It seems to have been a conscious decision on Matthew McConaughey's part to distance himself from the romantic comedies that have made up the bulk of his output over the last decade or so. Though this doesn't represent his first movement away from those films, Killer Joe certainly marks an extreme, as much in the film itself as the actor.
The strength of the film is in the character of Joe himself. He is enigmatic, but it's clear from the very beginning that he is not a man you want to cross (and not only due to his secondary occupation). McConaughey really shows what he's capable of here and it's a great achievement on his part that the role feels so full, despite the fact that so little is revealed about him through exposition. In addition to some beautifully subtle hints from behind the camera about what kind of person this really is, there are an abundance of equally understated ticks and mannerisms in the performance that sharpen his image considerably further.
Aside from the titular role, there are more than a few other aspects that make for deliberately uncomfortable viewing. In particular, the relationship between Hirsch's Chris and his sister, Dottie (Juno Temple) is unsettling in its intimacy. Like the rest of the first hour, the more disturbing aspects are implied, rather than announced and you're gently coaxed to interpretations that ultimately leave little to the imagination.
As the film gets going, it's unclear in which sort of direction we are headed. Whilst it's apparent that it probably won't end well for all concerned, predictability is not an affliction that the picture is plagued with, though it does a great job of fooling you into thinking that it might be. In the same way that the main character's appearance as a walking cliché belies his shockingly callous nature, the movie lays the foundations of what could easily become something much more ordinary. This sets up the last twenty minutes of the action perfectly and makes for a brutal jolt of a conclusion that reveals the true face of Joe's twisted psyche.
It's not often that this sort of misdirection is so devastatingly effective and the level of depth is impressive. It definitely won't be to everyone's taste, but the combination of expert storytelling and McConaughey's intimidating menace make this almost essential viewing. It's just unfortunate that a side effect of having foundations that seem uninspired is that that's exactly how they feel, uninspired.
The Verdict:
7.5/10
An explosive performance from McConaughey and some twisted imagination make for a subtly intense film that builds to a conclusion that will linger long in the memory.
In the Texas bayous, a local homicide detective teams up with a cop from New York City to investigate a series of unsolved murders.
Serial killer movies are a rare breed nowadays and most of these types of narratives end up on TV rather than in cinema. Texas Killing Fields, though not spectacular, is a decent genre flick with a slight twist in the mythology it uses to get the job done.
There's no shortage of tension here as both the pursuit of the suspects, and the deeds they perpetrate, are used as the centrepiece of the movie. This can also make for a few moderately disturbing scenes, particularly when we are shown some of the attacks as they occur. However, these are never gratuitous and serve the plot well in justifying the desperation that overtakes the investigators as they search for the killer.
The film is often very subtle in its approach, which echoes the seeming tranquility of the titular fields. The score very rarely taking control in directing the action, remaining in the background, and used more for augmenting the already eerie atmosphere than attempting to increase the tension. This is one of the picture's strongest facets, creating a creepy sense of danger and planting the seed that evil lies around every corner.
The performances also lend themselves to the formation of this idea, a palpable fear in all but the most jaded of characters. Chloë Grace Moretz is as quietly dazzling as usual, exuding both childish innocence and the strong feeling of a childhood lost to indifferent parenting. She's a pleasure to watch and avoids the common downfall of many child actors, being downright irritating. Unfortunately, the same cannot be said for the entirety of the cast. Sam Worthington is pretty terrible, and to be honest, how he keeps getting work is beyond me. I find him to be spectacularly wooden in everything he shows up in and this is no exception. In all fairness, this is the best I've seen him, but that really isn't saying much considering what there is to compare it to. Oddly, I didn't find that this detracted from the movie a great deal, which is likely down to some strong showings from those around him.
Overall, I found this to be quite gripping at times. It does have its problems, though. In particular a few of the relationships it struggles to build between characters early on don't really take hold, meaning later references to how they have developed over the course of events fall a bit flat. However, these are such minor aspects of the picture that the impact is minimal.
The Verdict:
7/10
A creepy film that maintains an eerie sense of tension throughout.
Set in 1930s Paris, an orphan who lives in the walls of a train station is wrapped up in a mystery involving his late father and an automaton.
The family film is a genre that can throw up all sorts of dire nonsense that is difficult to watch, leaving you wondering how it even appeals to the children that it purports to be made for. Hugo is anything but painful viewing and has everything needed to ensure that it will be looked upon with misty-eyed nostalgia by the younger audience members for years to come.
This is a film that marks a huge departure for director, Martin Scorsese. Never before has he deviated so far from the style and content of the work he is so renowned for. Clearly this isn't going to be Taxi Driver, Goodfellas, or Casino, but you can be assured that the gift for storytelling that he possesses, and has worked so hard to perfect, is fully represented here.
There is a real sense of magic in the movie, seeing the world through a child's eyes where the possibilities are endless and adventure lies around every corner. The mood put me in mind of Jean-Pierre Jeunet's Amélie, which is no bad thing, and it has just as much charm as its French counterpart. This is not to say that it's lacking in drama or heartache. The premise lends itself to a wistful sadness that permeates some of the more emotional scenes and provides the backdrop for the youngest of the cast to shine.
In addition to the performances, much of the picture's vitality stems from the use of some older effects techniques that have mostly been replaced by CGI in modern movies. Stop motion animation in particular is used to great effect and shows that, when done well, it can still hold the power to captivate. It also ties into an overwhelming theme of the plot, which is an unreserved affection for cinema as a whole. Harking back to the genesis of film will resonate strongly with lovers of the medium and there is a definite aim to inform in this respect, as well as entertain.
Ultimately, this is a film that does exactly what it is intended to do. There's plenty to keep the kids amused (with a few subtle adult jokes that will go over their heads) and more than enough to make it worthwhile for just about anyone, especially those with an affinity for cinema. This kind of movie magic is in short supply these days and Scorsese brings it back in terrific style.
The Verdict:
7.5/10
A film that is full of wonder and charming as they come. The passion for cinema is clearly evident and both kids and adults alike are thoroughly catered for.
