Review: Gravity

Carmen Paddock feels the pull of Gravity.

Image credit: Collider

It often seems that directors are using the new 3D format indiscriminately, without proper thought as to how it can best serve their cinematographic aesthetic and (most importantly) story.  Alfonzo Cuarón’s latest project, Gravity – which he directed, co-wrote, and co-produced – is a happy exception.

Weightless objects in outer space are ideal for 3D, and each shot appears meticulously planned to maximise the medium’s visual effectiveness.  Spacewalks, high-speed debris storms, floating flames, bodies swimming in air, and sweeping views of Earth seem to jump out of the screen and pull the audience into this magnificent but often nightmarish world, bringing the heart of the thriller to visceral life.

Cuarón’s intelligent direction succeeds on both artistic and dramatic levels, making Gravity an almost-certain contender for this year’s biggest awards.

Aside from Ed Harris’ voice as Mission Control (a brilliant nod to his portrayal of Gene Kranz, flight director of the lunar missions, in Apollo 13) and George Clooney’s surprisingly marginal role as the charismatic astronaut in charge of the mission, the film focuses solely on Sandra Bullock as Dr. Ryan Stone.

For the vast majority of the film she is the only person on screen.  Initially, all the viewers know about Dr. Stone is that she is a highly-respected medical engineer on her first ever mission, but as they slowly learn her history through snatches of dialogue – nothing is revealed too quickly or blatantly – the stakes for her survival climb exponentially.

Image credit: The Mirror

Bullock earns the audience’s complete support by portraying an imperfect, vulnerable, yet highly resourceful character.  Every emotion and reaction feels genuine; this may be Bullock’s finest performance to date (and easily worthy of a second Oscar).

The storyline itself was a pleasing surprise; while the trailer gives the impression that it will be a fairly generic disaster situation film, it never feels stale or clichéd, largely helped by the brilliant cinematography and powerful performances.

The juxtaposition between the setting’s almost unimaginable immensity and tiny cast creates an oddly intimate atmosphere that keeps viewers involved at every stage of Dr. Stone’s harrowing journey.

Although (as the trailer states) there is nothing to carry sound in outer space, the film does have a soundtrack which appropriately captures the grand yet unbearably tense mise-en-scène.

One song in particular is poignantly employed at a pivotal plot moment.  The music is contrasted with several shots in complete silence, as in reality; the latter’s eerie, stifling emptiness is so intense that, as effective as they are, the horror may well have been overwhelming had Gravity been shot without sound in its entirety.

Gravity manages to combine a strong plot with a truly stunning diegesis: from spaceship to solar system, this film reaches for the stars.

Carmen Paddock

From the Bill Douglas Museum: Oscar – The Film Stars Rise to Fame

It may be a new term, but we haven’t forgotten Exeter’s own Bill Douglas Cinema Museum, which houses one of the most important collections of film-related artifacts in the UK. This week, Online Editor Jess O’Kane takes a closer look at a unique board game.

Image credit: The Bill Douglas Museum

You might be forgiven for recognising the pearly-toothed lady who guards the box of Oscar: The Film Star’s Rise to Fame, with her knockoff Liz Taylor looks and green satin gown.

But though she may aspire to the pan-stick beauty of the Valley girls, she actually originates closer to home – in Birmingham, in fact, where this 1948 game was produced.

The lady, like the game, speaks volumes for the way that Hollywood glamour was viewed and assimilated across the Atlantic during the 40s.

While Britain was still in a post-war slump, with happiness, luxuries and fashion at an all time low, American film stars came to represent not only wealth but progression.

Image credit: The Bill Douglas Museum

It’s little wonder, for example, that many of the game’s stars – Rita Hayworth, Betty Grable, Richard Widmark – were second generation immigrants done good.

Most interestingly, the game itself involves the players in a narrative of rags-to-riches;  players take turns to try their luck at castings, impress studio bosses, attend test screenings and, ultimately, to win an Academy Award.

With each pay rise, players accumulate the necessary yachts, houses and swimming pools to transform their image.

This potential for reinvention must have been titillating, not only for the thousands of bright young things that flocked to Hollywood to “make it big”, but also for the audiences that flocked to the cinema every Saturday to bear witness to the transformation. Little wonder then, that so many of them would spend decades trying to emulate them.

For more information on The Bill Douglas Centre, click here. 

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Films to See Before You Graduate: The Silence of the Lambs

Selected for preservation by the National Film Registry in 2011, Katherine Perrington takes time off from Game of Thrones to tell us why The Silence of the Lambs remains king.

This psychological thriller is a work of genius, and if you only see one horror film before you graduate I can think of none that surpass it.

Image credit: Londoneer

Directed by Jonathan Demme, it picked up Academy Awards for Best Picture, Best Actress, Best Actor, Best Director and Best Adapted Screenplay – proving its critical success and commercial success.

Clarice Starling (Jodie Foster) is an F.B.I trainee who is recruited by Jack Crawford (Scott Glenn) to interview former psychiatrist turned cannibalistic serial killer Hannibal Lecter (Anthony Hopkins) to gain information on a serial killer who skins women, nicknamed Buffalo Bill (Ted Levine).

At first Lecter is dismissive of Clarice, however, he has something to gain from cooperating as he desires a transfer away from the detestable Frederick Chilton (Anthony Heald) who runs the facility where Lecter is kept.

When senator’s daughter Catherine Martin (Brooke Smith) is kidnapped, Lecter offers further information in return for details on Clarice’s personal life. A “quid pro quo” is established, and Lecter delves into Clarice’s hopes and fears; placing her utterly in his power.

Jodie Foster as Clarice Starling. Image credit: Indiewire

As an audience we like Clarice because she is intelligent and we are able to identify with her along with fearing for her. Lecter achieves his transfer and under his new relaxed security he is able to free himself by cutting off a guards face and placing it over his own to confuse the police and escape without notice.

This is one of the most violent and tense scenes, as the audience finally gets to see Lecter in action rather than a caged animal.

Clarice makes a break in the Buffalo Bill case, realising he is making a suit out of the girls skin. Bill has been keeping girls in an old well shaft beneath his house and we see his true demented nature when he makes taunts Catherine, “It puts the lotion on its skin or else it gets the hose again!” This is an irredeemable psychopath using these women as if they are no more than raw materials, worthless apart from their skin.

Clarice tracks him down in a chilling chase as he hunts her in his pitch black basement with night vision goggles. She shoots him and rescues the senator’s daughter, however Lecter is still at large and in a call to Clarice he assures her she is safe but that he will be “having an old friend for dinner.” The credits begin to appear as Lecter walks behind Frederick Chilton and we guess at his fate.

Anthony Hopkins as Hannibal Lecter. Image credit: Bloody Disgusting

Though he has significantly less screen time than his fellow actors, Anthony Hopkins’s scenes are among the most riveting and disturbing scenes of the entire horror genre.

Foster gives a wonderful performance as Clarice but Hopkins steals away the spotlight with his malevolent and mesmeric interpretation of Lecter. Lecter shocks us and scares us with his deadly charisma – not to mention his enjoyment in violently slaughtering and eating innocent people.

To put it simply, this film is a horror masterpiece that proves that truly exceptional thrillers do not age as they can capture and thrill audiences of every generation.

Katherine Perrington

What are your films to see before you graduate? Tell us on Facebook, Twitter or by commenting below.

Inglorious Contempt: Why hasn't Quentin Tarantino won the Best Director Oscar?

Benjamin Lewis launches a passionate defence of Quentin Tarantino’s brilliance and explains why he thinks that it doesn’t matter that the writer/director still hasn’t won the Best Director award at the Oscars…

Image Credit: BBC

If I were to ask you to name me one director off the top of your head from the last five or ten years, who springs to mind? Maybe it’s Steven Spielberg (Jurassic Park), Peter Jackson (The Hobbit) or James Cameron (Titanic)? What about Quentin Tarantino? An enigmatic and divisive, yet brilliant auteur. But despite an array of nominations and awards from many festivals, there is one glaring absence from his collection, which has meant that, in an official sense, he has been unable to join the upper echelons of directors.

I am indeed talking about the Best Director award at the Oscars (an award that all of the aforementioned directors have won).

Tarantino has twice been nominated for Best Director, in 1995 for Pulp Fiction and in 2010 for Inglorious Basterds. However, both times he lost, to Forrest Gump in 1995 and The Hurt Locker in 2010. On both occasions, Tarantino should have won.

I will embrace my position next to Tarantino on the Academy’s blacklist for saying this, but it is a fact. This is not to detract from the quality of either film, but especially in the case of 1995, Pulp Fiction was effectively the only choice; heavily stylised, it has numerous references to pop culture, a non-linear structure and memorable dialogue. Not only did this set the foundations for Tarantino’s own later movies but it would significantly impact other films, too. As Moviemaker Magazine later wrote, it was, “Nothing less than a cultural phenomenon”. This is a declaration that you would find hard to apply to Forrest Gump, despite its repeated references to cultural crazes.

So why then have the Academy not deemed Tarantino worthy of Best Director over the years? If we look at his four most critically successful movies according to Rotten Tomatoes and overlook Reservoir Dogs due to it being his directorial debut, the other three were all nominated for Best Picture and/or Best Original Screenplay (Pulp Fiction, Inglorious Basterds and Django Unchained) and two for Best Director (Pulp Fiction and Inglorious Basterds). Of these, the only two awards Tarantino won were for Best Original Screenplay for Pulp Fiction and Django Unchained. Why is this?

The unfortunate fact is that the Academy is a tight-knit group, who are incredibly political and hostile to outside threats posed to the established status-quo of Hollywood by unorthodox people outside the clique producing unconventional films. According to a recent demographic investigation by the LA Times, the collective is 94% white, with a median age of 62, and 77% male.

If we bear this in mind, the failure of many non-conformist, unconventional and extreme films in the eyes of Academy to win after their nominations makes perfect sense. This is seen clearly with Tarantino, whose handling and choice of extreme violence, an abundance of aesthetic blood and sensitive subject matters, so intrinsic to his style, are also responsible for the catch-22 situation he finds himself in.

Perhaps a brief comparison of Pulp Fiction and Forrest Gump is in order. Forrest Gump has a formulaic and linear plot, has a less gritty and overt portrayal of violence, is less stylistic and also less relevant to the time in which it was made. Pulp Fiction is the complete opposite to this and other movies, which cater for the tastes of the Academy. This is most evidently seen with the boring, patriotic, already forgotten Extremely Loud and Incredibly Close – a film rightly rated poorly and yet nominated for Best Picture due to its subject matter and creation with the Oscars in mind.

Ultimately, it is my belief that it is Tarantino’s lack of Best Director confirmation that is not only testament to his directorial brilliance, but to his moral worth, too. It is the very unconventional characteristics of his style that are so frowned upon by the Academy – disdain of cinematic convention and aestheticization of violence – that have earned him so much popular and critical acclaim and success. In refusing to change his cinematic style or beliefs in order to be judged more deserving by his colleagues and contemporaries at festivals, he only further cements his standing as an inspirational director.

Benjamin Lewis

Agree or disagree with Ben? Why not join the debate about Forrest Gump, Tarantino and the worth of the Oscars in the comments section?

Awards Season: Oscars debrief

Senior Screen Reporter Emily Leahy offers her perspective on the curtain closer to the cinematic awards season, the Oscars…

Image Credit: LA Times

The 85th Academy awards was a musical spectacular; reflected in both the award winners and the night’s entertainment. Peppered with dramatic accidents onstage (Jennifer Lawrence’s fall) and outrageous gags from the host Seth Macfarlane, clearly the highlight of the night was the show’s musical theme and its show stopping performances.

 

The biggest winners of the night included Daniel Day-Lewis for his leading male role in Lincoln, Jennifer Lawrence for her leading female performance in Silver Linings Playbook, Christoph Waltz for his supporting role in Django Unchained and not forgetting Anne Hathaway’s win for her supporting female role in Les Miserables. None of these were particularly surprising wins, however; it was always apparent that the academy would choose to favour Lawrence over Jessica Chastain’s fierce character pursuing Bin Laden in Zero Dark Thirty.

 

More unexpected was the Best Motion Picture award going to Ben Affleck’s Argo, both because the director was so clearly snubbed in the Best Director category of the awards and because fellow pro-American film Lincoln was firm favourite early on. Ang Lee won the title in the end, which wasn’t undeserved. Life of Pi was in fact the overwhelming winner of the night, taking home four awards for Cinematography, Music: Original Score, Visual Effects and Best Director. Lincoln, the initial favourite ahead of the ceremonies, actually performed fairly averagely, winning only two of the twelve gongs it was nominated for. It was a welcome change for the academy to acknowledge the achievements of films outside the traditional ‘Hollywood’ choice, even if Argo is a film about Hollywood saving the day.

 

This year the awards uniquely carried a theme, celebrating the musical film genre. There was an abundance of musical talent on display, most notably the medley performed by the Les Miserables cast. Additionally, Jennifer Hudson gave a breathtaking performance of ‘And I Am Telling You I’m Not Going’ from the film she won her Oscar for, Dreamgirls. In contrast, it has been disputed whether Catherine Zeta Jones’ performance was live during her rendition of ‘All That Jazz’ from , nonetheless, she successfully resurrected the character for which she won her Oscar in 2002. In addition Barbara Streisand also took to the stage, performing ‘The Way We Were’ from the Oscar winning film of the same title during the ‘In Memoriam’ section of the ceremony.

 

In extension of this, the British institution of James Bond films was celebrated through its musical contributions. Dame Shirley Bassey performed, in her usual fashion, the classic ‘Goldfinger’, whilst Adele represented the modern Bond with an outstanding performance of ‘Skyfall’. She more than justified her later triumph in winning the award for the Best Original Song, and her pure shock ensured her acceptance speech carried her spontaneous London charm.

 

Conversely, Seth Macfarlane was an underwhelming host, with a mix of average to frankly offensive jokes rather than boundary-breaking humour. Stand out moments included likening the violent Django Unchained to Rihanna and Chris Brown’s relationship and referring to the unoriginal topic of Mel Gibson’s apparent racism. Perhaps his most original moments came in the form of the pre-recorded segments: such as the brief appearance of Captain Kirk pointing out the lack of success in his hosting skills and the subsequent ‘Boob Song’ which documented all the occasions various female celebrities had shown their breasts on screen (or not, in the case of Jennifer Lawrence).

 

Overall, the awards were successful but more due to the musical interludes than the host himself. This was probably for the best, as it focused the attention on the talented nominees rather than the funny man role which has overshadowed the real talent at so many ceremonies before. The most successful films of the year were recognised and although it was disappointing Affleck didn’t even receive a nomination for the Best Director award, for the most part the winners were deserving and gracious.

 

Emily Leahy, Senior Screen Reporter

Oscars Fashion Roundup

The Oscars is one of the only times I feel justified in buying ‘Ok’ or ‘Hello’ simply so I can trawl through the endless red carpet pictures and here’s a brief summary of the most stand-out dresses for me.

With so much haute couture, and quite frankly scarily attractive people, finding “The Dress” that’s flattering, bold, and yet elegant, must be an ordeal. “But…” I hear you protest, “How can shopping with an unlimited budget EVER be an ordeal?” I would’ve liked to do some research into this deep cultural question but unfortunately I am on a limited budget.

It’s us, the jealous bitches not invited to the party, that make choosing an Oscar dress the work of five stylists rather than the result of a reckless impulse. We’re out to judge every sequin, pleat and neckline with a vengeance.

Yet, ultimately, anyone who loves what they’re wearing can pull it off, even Helena Bonham Carter’s gothic bride look (right) is such a part of her that even I can’t criticise it.

Jennifer Lawrence’s dress (below) deserves the first mention. Not many people can pull off so pale a blush pink in curtain-like fabric –I would look so ill, security would probably send me home! The fitted bodice shows off her teeny tiny waist whilst the billowing train made even her little stumble appear elegant –well almost. For practical reasons this dress is too poufy. Firstly, she could trip on it. Secondly, someone is bound to tread on it. If Eddie Redmayne’s velvet slipper was the offending shoe you wouldn’t find me complaining but it’s more likely to be a stiletto ruining the train of Dior’s latest masterpiece.

Anne Hathaway has also managed to pull off pale pink but she chose a sleeker, straighter look. The satin is a tad stiff and heavy which makes her look even thinner. Not so much elegantly slinky as a bit robotic and let’s not mention the unfortunate seams around the nipple area…

Amanda Seyfried and Nicole Kidman on the other hand were looking very slinky in their curve-hugging sequined gowns. Kidman’s futuristic dress was particularly eye-catching with its heavily detailed train.

 

 

 

 

 

 

 

 

 

 

This not-so-small touch of sparkle is essential at any Hollywood event and the very brave opt for a Marilyn Monroe-esque gold. Catherine Zeta-Jones didn’t quite manage to prove that gentlemen actually prefer brunettes and looked a little like a shiny mermaid but Jessica Chastain’s more subtle shade accompanied by some red lippy made her look every inch the glamorous film star.

Former bond girl Halle Berry definitely had the right idea with a bold Versace gown but I wasn’t a fan of the 80s shoulder pads – too manly by far. But at least she didn’t have a purple caterpillar trailing down her back like Jennifer Garner.

 

 

 

 

 

 

 

 

 

 

For me the trusty black dress reigned as usual. Sandra Bullock and Adele were looking lovely in delicately beaded classics by Ellie Saab and Jenny Packham. Samantha Barks’ black Valentino certainly drew a few stares with its daringly plunging neckline, but we are all aware she has breasts. There’s no need to stick them in the photographers face.

 

 

 

 

 

 

 

 

 

 

I could spend hours going through all these dresses but here’s just a few tips this year has taught me in the unlikely event I become a red carpet regular:

1. Practice walking upstairs in heels, live international TV or not, this is ALWAYS embarrassing.

2. If you don’t wear something sparkly security won’t let you in – their sunglasses are protection from the glittering diamonds.

3. A plunging neckline is flattering and makes you look taller, but it’s best to leave some to the imagination.

4. Never EVER EVER wear yellow. No one wants to stand there looking like a lemon –Solange Knowles.

5. Keep it classic and you can’t ever go wrong –Rebecca Day-Lewis looked just the part in black lacey Dolce.

By Krissi Hill

Photo credits to Vogue and digitalspy.

 

The Xmedia Screen Show: Valentine's and Oscars Specials

The Xmedia Screen Show, Xpression FM’s film and TV show, run by your Exeposé Screen editors, has had a couple of spectacular specials over the past two weeks (if we do say so ourselves).

Image Credit: hitfix.com

Firstly, the team did their best to ruin your Valentine’s. Sorry, I mean, enrich your enjoyment of the magical day by debating the downsides of romantic comedies. This bumper episode also featured the usual quiz, an interview with some big cheeses from XTV, a round-up of the BAFTAs and a chat about the recent trend of Hitchcock biopics.

 

Then, the following week, your Exeposé Screen editors ditched the guests for a cosy chat about their Oscar predictions (essentially, a more in-depth version of those printed in the last issue of the paper). Do you know which films were nominated for Hair and Make-up at this year’s Oscars? We’ll tell you, in a feature about overlooked Oscar categories. There’s a passionate rant about the wonders and limitations of the Skyfall soundtrack, and a general agreement that the role of music in the success of award winning films is under-appreciated.

 

The second special concludes with some (hopefully) fun ideas for TV spin-offs and an epic Oscar quiz clash between Owen and Louis. Who will win this time? Yes, you could probably guess as there’s only two of them, but why not listen in to be absolutely sure?

 

Remember, The Xmedia Screen Show is on-air every Thursday between 5 and 6. You can listen to the two specials, if you missed them, via the links below.

 

Valentine’s Special: click here.

 

Oscars Special: click here. 

 

Awards Season: 8 Tips To Avoid Awards Awkwardness

Life-coach to the stars, Alex Phelps, presents his top eight tips to avoid awards awkwardness. With the Oscars on Sunday and awards season winding down, we feel that it’s our duty to learn from the mistakes of the rich and famous. So Hollywood inhabitants pay attention and have these ready for next year’s festivities…

1. Thank the right amount of people

It is a bit of an obvious one but so many winners feel the need to thank everyone, from their Nan to their dog groomer’s sister-in-law. Obviously it is important to thank people and give credit to those who helped but at the same time films take a lot of people to get going so I would recommend making a top five, thank them, then thank the rest. This way you avoid the terror of being played off, speaking of which… 

Image credit: Gary Hershorn/Reuters

2. Keep it short, keep it snappy and master your laugh

The last thing you will want to do is have the dreaded Halle Berry play off music. The best speeches by far are the quick two minute wonders that fit in a thanks, a “what an honour” and just general self-achievement. Winners beware when trying to be edgy, it can be charming but often will just ensure the noses of the ceremony turn up in synchronisation. Make sure you have an appropriate laugh lest you end like this: Natalie Portman’s Laugh!

Image credit: Entertainment Weekly

 

3. Don’t wear sunglasses

This is an important one. If you wear sunglasses you will clash with Jack Nicholson and this will upset him. He is pretty much the only human being who is capable of pulling them off, so why even bother? Just suit up and bask in how cool he is and know you will never be him.

Image credit: Kevin Winter/Getty Images North America

4. Don’t ask Quentin Tarantino about violence in cinema

Best thing to do in this situation is just accept that he likes gore and he does it very well. He will easily best you with years of debating the issue behind him. You would simply incur a verbal onslaught and quite potentially actual slaughter. Also I am just thankful he gave us all Christoph Waltz. So thanks QT, keep on killing!

Image credit: The Guardian

5. Don’t question why Arnold Schwarzenegger isn’t nominated

Bah, no matter how many letters, emails and carrier pigeons you send, the Oscar committee will not give the man the credit he deserves. Sure you can give it to Daniel Day-Lewis but he is not the father of modern puns. My advice is just accept the fact it is not happening, and that Arnie is just too radical for recognition. I swear it is like as if they have never even seen Commando!

Image credit: The Guardian

6. Don’t wind up Seth MacFarlane

In short, if in the coming weeks before the ceremony you have an altercation with the host, Seth MacFarlane, you are undoubtedly done. The man makes a living ripping on celebrities and if you wind him up the entire ceremony will be devoted to tearing you a new one. Best thing to do is send him a few flowers and sit next to Mel Gibson in the hope that he bears the brunt of the jokes.

Image credit: Getty Images

7. Don’t get in between Al Pacino and Robert DeNiro

I have a theory that if Al Pacino and Robert DeNiro look each other in the eyes anything in-between melts at the concentrated beam of awesomeness that spreads between their two gazes. There is also the problem of deciding which one you would like to suck up to the most. Decisions, decisions.

1982, Photographer Unknown

8. Do not challenge Russell Crowe to a fight

The man was Gladiator for crying out loud!!! Russell is often known for his love of pugilism and now he has the added power of song on his side. The result will only end badly for you as you collapse under a flurry of fists and a barrage of baritones. If you don’t believe me allow South Park to explain…

Image credit: Screenjunkies.com

Alex Phelps, Online Games Editor

Awards Season Review: Argo

If Argo wins Best Film on Sunday night at the Oscars it will be the first film since 1989 to win the award but not to be recognised for Best Director, reflecting further the strangeness of this year for the Academy, with it being one of the most open races for Best Film in decades.

Image Credit: BBC

Upon accepting the Bafta award for Best Director Ben Affleck (The Town) described Argo as his ‘Second Act’; his third stint behind the camera is proving to be a hugely successful one, with Argo favourite to win Best Film at the Oscars in a few days.

 

Affleck both directs and stars as the main character, the daring CIA agent Tony Mendez. The film follows the imaginative agent as he constructs the bogus sci-fi film ‘Argo’, to be filmed on location in Iran in order to extract six American diplomats hiding in the Canadian embassy in revolutionary Tehran. Adapted from a true story, Chris Terrio’s head spinning script entertainingly mixes the glam of Hollywood with the unstable Middle East, and showbusiness with government bureaucracy.

 

Billed as a comedy, the film’s selling point is CIA agent Jack O’Donnell (Bryan Cranston) sarcastically describing it as “the best bad idea” they had. However, the gripping suspense and paranoia is also its founding appeal. As the film flits between three settings of crowded and volatile Tehran, the claustrophobic offices of the CIA and sunny L.A, you are left biting your nails as Mendez and the six diplomats attempt to literally scramble out of Iran. Performances by the always captivating Alan Arkin (Little Miss Sunshine) and Bryan Cranston (Breaking Bad), who is really growing into serious roles, added real class to the cast of the film.

 

Through Affleck’s directing, Argo refreshingly combines a big issue with beautiful cinematography. Each location has its own cinematic feel in order to assist the audience through the fast narrative. For example, all the footage in Tehran is on handheld cameras, reminiscent of news footage or a documentary.

 

Where Argo falters however, is the failure to create any great measure of audience empathy for the diplomats in Tehran. Despite being hooked into the suspense of the six diplomats hiding in the embassy, there is no real feel of personal attachment to them, despite the inclusion of the home footage monologues for each character. The spectacle and the entertainment of the film aren’t in any doubt but there isn’t real substance to the horrific situation of the six individuals, nor that of Iran itself.

 

At the core, although it brings the shocking realities of Iran to the attention of Hollywood (both in the film and today) it fails to get its hands dirty. You feel there could be more done with this goldmine of a story by getting under the skin of the audience about an event that still scars the country. The film is also strictly from an American perspective, the Iranian people are portrayed as merely religious and violent, whilst the role of the CIA is glorified and the impact of the Canadian Embassy is downplayed.

 

Film critic Peter Bradshaw perfectly described it as ‘semi quirk’. It is as if Affleck grapples with what kind of film he wants Argo to be, which is endearing, but ultimately harming. This is reflected through the last ten minutes, where Affleck’s work of laying down the foundations of a ‘quirky’ film is lost through a Spielberg-esque cheesy hugs and tears montage of celebrations, which is fitting for the American patriot theme of these awards. However, the film’s ending, with the US flag waving outside a picture book American house, is just a little too much American nationalism to be swallowed comfortably.

 

Argo is a safe option for the Academy, appealing, entertaining and fun, but it will show a reluctance to again reward a certain Quentin Tarintino for Django Unchained and a foreign speaking production in the French film Amour.

 

My Rating: 3 Stars.

 

Flora Cresswell

Awards Season Review: Lincoln

So it is awards season, that time of the year when directors and actors have been biding their time just waiting to unleash their most prestigious ‘Oscar Gold’. Lincoln is just that. The criteria is all there: a famous figure played by an imperious lead actor, an experienced and established director pulling all the strings and a crucial social issue that glues it all together.

Image Credit: BBC

Unsurprisingly, it is the most nominated film at the Academy Awards and it is set to pretty much clean up. Does it deserve all this praise and credit? Yeah, again, pretty much.

Spielberg has not made it easy on himself. To take on a biopic of Lincoln’s life is no easy feat. If it were to be from start to finish of his life it could not be done. Too much happens that would require so much devotion, even in an entertaining film. Instead, Spielberg focuses on one of the most important times in Lincoln’s life, passing the Thirteenth Amendment. This period of about two months is perfect for the screen as it creates a tense political atmosphere, with the backdrop of the American Civil War. It’s a historical filmmaker’s paradise and hell.

Anyway, enough history. The performances are astounding. In the acting world you can’t really say Daniel Day-Lewis (There Will Be Blood) without everyone in the room going weak at the knees, and I apologise to both Hugh and Denzel but when you come up against Day-Lewis you are in for some heavy competition. He is truly astounding. The amount of work that he put into the role is obvious as he mimics meticulously as many aspects of Lincoln’s personality as possible. His oratory skills in huge speeches and small conversations, his domineering height and stride and his dogged determination to end the institution of slavery are all portrayed to the smallest detail.

Day-Lewis is a complete tour de force and every scene he is in has the audience glued to his every word. Despite Day-Lewis’ stand-out performance, it is the more subtle work of the supporting cast that bolster the film’s success. Tommy Lee Jones (No Country for Old Men) is charismatic as the abolitionist Thaddeus Stevens. I found that some of my favourite scenes did not involve Lincoln but were actually the moments when Lee Jones was having a political ‘yo mama so fat’ contest with the pro-slavers in the House of Representatives. Sally Field (Forrest Gump) as Mary Todd Lincoln is tragic as a grieving mother and a frustrated wife in the shadow of America’s most loved president. She adds the personal drama of Lincoln’s life outside the cabinet meetings.

The result is that the story goes along quite nicely, balancing out the internal and external drama of Lincoln’s life. The audience is given an entertaining portrait of a charismatic figure and a detailed look at the Civil War era that is fascinating. Yet at the same time, for a non-American audience, there are moments that can be hard to swallow. It is of course very self-serving and often overly aware of its powerful performances. Historically speaking not all is there, Lincoln did free the slaves but it makes no mention of the fact that he advocated sending freed slaves back to Africa after they were free, nor does it really highlight how cruel and devious Lincoln could often be when he wanted something.

These are small things but they can annoy people, especially those enthusiastic in history. Overall, Spielberg has done a top notch job, creating an inspiring and vastly entertaining biopic of an undoubtedly important and great historical figure.

My Rating: 4  Stars

Alex Phelps, Online Games Editor

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