Indie writer and director Jamie Adams rounds off what is referred to as his ‘modern romance trilogy’ with ‘Black Mountain Poets’; a mistaken identity comedy of errors. His improvisational trio of movies began in the music industry with Benny & Jolene before tackling the festive period in A Wonderful Christmas Time. Concluding on a slightly darker note in the poetic, yet wacky world of wordsmiths, we meet con-artist sisters Lisa (Alice Lowe) and Claire (Dolly Wells) as they commit the latest in their series of petty crimes and are forced to go on-the run. To keep a low profile from the pursuing authorities, they grasp at an unexpected opportunity to assume the identities of another set of sisters, who happen to be well respected bards expected at a camping trip with their creative crowd of poetry enthusiasts. Can they keep up the pretence for an entire weekend of writing and recitals, or will they be unmasked as the fraudsters they are?
The narrative is thematically deeper and darker than the other films Jamie Adams has made, and I think this is because the fun is poked at older characters with less time left to make a mess of their lives. Lisa and Claire live their lives with little direction and although there are still laughs, there is an underlying sadness that goes along with them. The Allen-esque struggling artist idea toyed with in Richard, the brooding man that comes between the sisters played by Downton Abbey’s Tom Cullen. The improvised script is playful but razor sharp as the cringe-inducing scenarios are executed naturally, avoiding the staged awkwardness that can plague comedies of the same ilk. Lowe and Wells excel in their co-leading roles, as their alter-egos enjoy screen time with one other, lampooning not just each other but everyone around them. Excellent support comes from Rosa Robson as Richard’s on-off snooty girlfriend Louise and Richard Ellis is hilarious as possibly the most Welsh man alive, Gareth Jones.
Filmed in just five days, ‘Black Mountain Poets’ is low-budget brilliance. The ‘modern romance trilogy’ has matured and gives an assured and interesting finale which has all the attributes of the predecessors and more to boot. It is tightly written and intimate yet the story unfolds on the wide and wonderful landscape of Wales’ black mountains. Despite the bizarre predicaments Jamie Adams’ characters find themselves in, they offer up a brutally amusing yet entirely relatable and down-to-earth representation of the highs and lows, or in this case the peaks and valleys, of life as a British adult who should really be settling down by now, but doesn’t quite know how.
A decade has passed since the last lightsaber battle on the silver screen, and the anticipation around the latest instalment of the franchise has been rife. ‘Star Wars: The Force Awakens’ is the seventh episode so takes place approximately 30 years after ‘The Return of the Jedi’, revisiting the characters of the original trilogy as well as introducing a host of new faces. British rising star John Boyega stars as Finn, a stormtrooper who rebels against his master Kylo Ren (Adam Driver) to assist captured fighter pilot Poe Dameron (Oscar Isaac) escape from the clutches of the dark side. Following this, Finn meets Rey (Daisy Ridley), a scavenger on the planet Jakku and together along with Han Solo (Harrison Ford) and Chewbacca (Peter Mayhew), they join forces to track down the missing Luke Skywalker (Mark Hamill) and overturn the First Order.
Straight from the iconic opening titles, there is an air of nostalgia that is ever-present in director J.J. Abram’s foray to a galaxy far, far away, and John William’s recognisable score is used to good effect in key moments which hark back to previous incarnations. The plot has a familiar structure and retreads themes of inner conflict and ‘good versus evil’, but still feels fresh in its rejuvenation. The team of writers superbly handle the combination of using old and new characters, the story never feeling cluttered or convoluted despite there being so much going on between the grandiose action sequences and the more intimate dialogue driven duels.
A lot of pressure lies on the young shoulders of Boyega and Ridley to deliver their in their pivotal central roles, and I am pleased to say that they do. Finn, or FN-2187 to give him his stormtrooper title, is far from the stereotypical hero. He has his flaws but has a good heart and Boyega captures this depth well. Daisy Ridley is equally excellent, Ren carrying the torch for the trend of strong female characters in film. Harrison Ford brings playfulness and exuberance to proceedings, Han Solo and Chewy working well with the youngsters and recreating the team dynamic on the Millennium Falcon first established back in ‘A New Hope’. There’s an abundance of solid turns from the cast including Lupita Nyong’o, Domhnall Gleeson among others, each making the most of their given opportunities but Adam Driver stood out in particular in his complexly villainous portrayal of Kylo Ren, his performance putting him up there with my favourite cinema baddies of the year.
‘Star Wars: The Force Awakens’ lives up to the almighty hype and does enough to tick the boxes for fanboys as well as welcoming a generation of new fans along for the ride. The sentimentality might be a tad indulgent for some, but it wasn’t overdone and looks forward to the future as much as it looks back into the past. J.J. Abrams has revitalised the classic series for the 21st century, directing with bravery and skill, and with respect for the enormity of the task at hand. The force is strong with this one.
Nicholas Hoult first rose to fame in 2002 at the age of just twelve in comedy drama About a Boy and has went from strength to strength ever since, starring in teen-series Skins as well as hitting Hollywood in Marvel’s X-Men movies. Now he has his most extreme role to date in dark comedy crime thriller ‘Kill Your Friends’, directed by Owen Harris. Based on the controversial novel of the same name by Scottish author John Niven, the plot takes place in the cut-throat music industry at the height of the Britpop era, following cocksure A&R man Steven Stelfox (Hoult), as he tries to work his way to the top. When a promotion comes up at the expense of his hapless manager Schneider (Dustin Demri-Burns), Steven and his colleague Roger Waters (James Corden) are in competition for the sought-after position. With label rival Tony Parker-Hall (Tom Riley) thwarting his efforts at every turn, can he do enough to impress company boss Derek Sommers (Jim Piddock) and get the job he believes he deserves?
From the off, the satirical style is made very apparent as the ruthless protagonist smashes down the fourth wall in the opening five minutes, and proceeds to talk straight down the lens of the camera, introducing his friends and foes around the office. Stelfox’s articulate internal monologue invites the audience into his twisted state of mind, giving the film an amusing swagger that is complimented by a brilliant yet blindingly obvious soundtrack featuring Blur, Oasis, Radiohead et al. The storytelling hinges on a substance-influenced mix of snap decisions and calculated mind games of the central character, and director Harris is not afraid to shock with moments of bloody violence that earn the picture an 18 rating certification; a rare occurrence in a time where brutality is watered down.
With clear similarities to Filth’s junkie policeman Bruce Robertson or psychotic investment banker Patrick Bateman from American Psycho, the unenviable challenge for Nicholas Hoult is not to simply come across as copycat, and to make Steven Stelfox just as memorable. While I feel that the film itself borrows too much from its influences in terms of the visual approach and editing, I think Hoult carries enough weight to give the villainous Stelfox proper depth, and although his views are skewed and his actions are mostly unforgiveable, he is a lot of fun to watch. The supporting cast hold back enough as not to get in Hoult’s way as he chews the scenery, but among the stand-outs are Craig Roberts as Stelfox’s timid but loyal scout Darren, and Ed Hogg as DC Woodham, a sleazy cop and wannabe songwriter.
‘Kill Your Friends’ relies heavily on the stylised approach adopted by past works tackling similar subject matter, and because of this there is a distinct lack of originality. However, as it borrows its ideas from enjoyable material, it turns out well. Nicholas Hoult’s wildly charismatic performance as the despicable yet at times hilarious Steven Stelfox is interesting enough to steer away from simply emulating others. I think that John Niven’s book is worthy of the cinema treatment it has received and whichever label you stick to it, whether it’s Britain’s answer to American Psycho or Trainspotting with money, it is an entertaining and energetic piece of guitar heavy, drug-fuelled and exaggerated nineties nostalgia.
Todd Haynes’ romantic drama ‘Carol’ takes place during a crisp New York winter in the early fifties and is based upon the Patricia Highsmith novel The Price of Salt. Carol (Cate Blanchett) is strong-willed and sophisticated but suffering the trauma of a divorce with her husband Harge (Kyle Chandler), which is complicated further by a custody battle for their daughter. Whilst searching for the perfect Christmas present for said daughter, she meets shop worker Therese Belivet (Rooney Mara) with whom she embarks on a forbidden relationship. Their romance clashes with the narrow minds of a less accepting time, but can love prevail against adversity?
The plot unfolds at a slow but steady pace, perfectly capturing the nervous excitement and awkwardness of the early stages of a relationship through to the point where Carol and Therese have an almost telepathic bond, expressions often saying more than words can. That’s not to say the script isn’t joyous but sometimes less is more, and the silences are so effective. As good as the characters are, the backdrop they inhabit also deserves a mention. The high production values and attention to prop detail give the cinematography a rich texture and a dreamy glow which feels suited to the subject matter with just enough authenticity.
The success of this adaptation heavily depends on the acting, and Blanchett and Mara more than deliver, the juxtaposition of their performances highlighting the fact that you can’t help who you fall in love with. Carol is an elegant powerhouse, hard on the outside but with a soft, vulnerable centre. Therese on the other hand is wide-eyed and innocent, and has an endearing fragility to her that gives the resemblance of a porcelain doll. The contrast between them adds to their connection which is fascinating to watch in its carefully handled development.
Todd Haynes succeeds in recreating the rigid yet dazzling fifties in a way that illustrates how far we have come in the acceptance of the LGBT community in society, and tells a hugely emotional story in the process. His greatest achievement is in the magnificently nuanced performances he draws from Blanchett and Mara and with awards season underway, ‘Carol’ will be deserved contender. Rooney Mara, in particular, should be a hot favourite in her categories. Her tender portrayal of Therese Belivet is, as Carol describes her lover, ‘flung out of space’.
In co-founding Apple and giving us the Mac, the iPod and the iPhone amongst other gadgetry, Steve Jobs arguably changed the landscape of modern technology. Following his untimely passing in 2011, it was only a matter of time before his story was immortalised in cinema. The list of talent involved reads like the film equivalent of the perfect iTunes playlist with Danny Boyle in the director’s chair, Aaron Sorkin on writing duties and Michael Fassbender in the eponymous leading role. Loosely based on the biography of the same name by Walter Isaacson, the story unfolds through his conversations with his loyal marketing executive Joanna Hoffman (Kate Winslet), the former Apple CEO John Sculley (Jeff Daniels) and fellow co-founder Steve Wozniak (Seth Rogen), exploring the personality behind the products.
In cinema, gambling has the tendency to be glamourised and sensationalised, casinos portrayed as slick, stylish dens where dreams come true and everyone goes home a winner. Showing the dirtier side of the coin, and tackling the addictiveness of the habit are writers and directors Anna Boden and Ryan Fleck, who are best known for their collaboration on Half Nelson, which told the story of a school teacher hooked on drugs. Their latest project ‘Mississippi Grind’ focuses in on Gerry (Ben Mendelsohn), a down-trodden chancer on a losing streak. At the poker table, he meets Curtis (Ryan Reynolds), a happy-go-lucky ladies’ man who likes a flutter but confidently claims that he doesn’t play to win. In an attempt to overturn Gerry’s misfortune and make enough profit to repay his debts, they embark on a betting-fuelled road trip down the Mississippi River.
Following their hugely successful collaboration on Skyfall, director Sam Mendes and actor Daniel Craig reunite for their second and possibly final mission with ‘Spectre’. Taking place shortly after the aforementioned predecessor, a merger between MI5 and MI6 and the introduction of a surveillance agreement could cause the 00 section of intelligence to be surplus to requirements, much to the dismay of M (Ralph Fiennes). Against orders, Bond goes on a rogue assignment given to him from beyond the grave to track down and kill a man called Marco Sciarra (Alessandro Cremona). In doing so, he discovers the global criminal organisation which gives the film its name led by Franz Oberhauser (Christoph Waltz) and meets Dr Madeleine Swann (Léa Seydoux) along the way.
Whether you’ve seen it in the theatre, watched a television or film adaptation or studied it at school, the work of William Shakespeare is a quintessential part of British culture, and no play of his is more iconic than Macbeth. In the latest cinema outing for ‘The Scottish Play’, Australian filmmaker Justin Kurzel directs. Following a brutal battle, the warrior Macbeth (Michael Fassbender) receives a prophecy from the Three Witches, who tell him he will one day be the King of Scotland. His wife Lady Macbeth (Marion Cotillard), then hatches a plan, taking matters into her own hands to speed up their monarchical ascent. This leads to a psychological power struggle as his friendship with Banquo (Paddy Considine) is tested, and his controlling behaviour results in conflict with Macduff (Sean Harris). This reimagining tells the story from a slightly new angle, on a glorious Skye backdrop.
French-Canadian director Denis Villeneuve has enjoyed a relatively unblemished track record thus far with critics and cinema-goers alike, his films such as Enemy and Prisoners receiving acclaim for all angles. His latest feature, ‘Sicario’, which is a Latin American term for hitman, explores the crime thriller genre, focussing on drug trafficking and federal corruption. Emily Blunt stars as FBI kidnap-response team leader Kate Macer, a strong-willed and idealistic agent, determined to bring cartel boss Manuel Diaz (Bernardo P. Saracino) to justice. Following a gruesome discovery related to her target, she is approached by shady CIA officer Matt Graver (Josh Brolin) who invites her to join him and his mysterious right-hand-man Alejandro (Benicio del Toro) on a mission aimed at getting to the very heart of Mexico’s criminal underworld. Seizing the opportunity, Macer agrees but soon finds herself compromised, unsure who to trust in an dangerous environment where the lines between right and wrong become increasingly blurred.
Collaborating again with the celebrated cinematographer Roger Deakins, a menacing atmosphere is ever-present in Villeneuve’s visually striking depiction of the comings and goings across the US-Mexico border. We observe the dark, slow-burning narrative unfold through the initially naive perspective of agent Macer, discovering plot points as and when she does, and see her moral compass waiver as her involvement in the assignment deepens. The pulsing score, expertly crafted by Icelandic composer Jóhann Jóhannsson, brings nerve-shredding tension to the excellent black-ops scenes. The suspense building never lets up, hitting hard in a particularly well choreographed sequence shot using first-person techniques through night vision goggles, placing the viewer right in the midst of the threat.
Continuing on from her powerful co-starring roles as no-nonsense female figures in films such as Looper and Edge of Tomorrow, Emily Blunt comes under the leading spotlight in Sicario, showing the same heroine qualities for her portrayal of Kate Macer. Beneath her hard-edged exterior is an endearing vulnerability that gives her character depth and relatability. Her by-the-book principles creates conflict with her peers, making for enjoyable dialogue between her and her ethically-challenged colleagues. She frequently butts heads with Graver, played suitably sleazily by the ever-professional Brolin. A solid supporting cast includes Jon Bernthal and Daniel Kaluuya, their characters used as devices to dissect Macer’s character, showing all aspects of her personality.
A well-placed revenge tangent sees supporting character Alejandro take centre-stage for a brief spell. This helps implement a subplot centred around a crooked policia officer called Silvio (Maximiliano Hernández) with the main plotline, and develops Del Toro’s primarily nuanced turn into an electrifying performance, which culminates in a shocking dinner table showdown as well as a rewarding two-hander finale with the protagonist.
Complex subject matter is delved into intelligently by Denis Villeneuve, and ‘Sicario’ is further evidence of his quality as a filmmaker. With the crime genre as his current forte, he executes with style and substance in equal measures. The comprehensive screenplay is penned by Sons of Anarchy actor-turned writer Taylor Sheridan and Blunt, Brolin and Del Toro impress and excel in the richness of the material. Villeneuve’s direction and Deakins’ skilful cinematography work together to achieve the desired effect, isolating and alienating Macer in hostile territory where heroes are merely lesser villains.
Paranoia, the ‘struggling artist’, adultery, death and the thought of committing the perfect crime are all commonplace within the creative ground that writer and director Woody Allen has explored throughout his extensive filmography. Keeping up his remarkable one-film-per-year tally, his latest project ‘Irrational Man’ revisits past themes through philosophy professor protagonist Abe Lucas (Joaquin Phoenix) who experiences an existential crisis. With rumours of his questionable lifestyle circulating round the college campus and a hip flask of ‘vintage’ malt in his back pocket, he befriends his straight A student Jill (Emma Stone) who is in awe of his knowledge and intelligence, much to the dismay of her boyfriend Roy (Jamie Blackley). When eavesdropping on a conversation in a diner, Abe sees an opportunity to give his life a sense of meaning, but at what costs?
The mystery plot is Hitchcockian in its absurdity, and Abe Lucas is used as the ideal vehicle to drop philosophical quotes from Kant and Dostoyevsky into the script, as well as delivering Allenisms such as ‘I couldn’t remember the reason for living, and when I did it wasn’t convincing’. It is gluttonous, self-indulgent filmmaking from the director who refuses to change his style, and Khondji’s neat cinematography is accompanied by a typically jazz-infused soundtrack that frequently repeats. No matter how familiar it may feel, it is comical, clever and wickedly dark. Phoenix plays the lead unlike the past few central characters in Woody’s films in that he is not a copycat version of his creator. His performance is enjoyable and works well with Allen’s most recent muse Emma Stone, who is a natural at handling his delectable dialogue. Rising British actor Jamie Blackley also impresses and is one to watch out for, but his role here is a little underused.
‘Irrational Man’ is the most fun I’ve had with a Woody Allen film since the turn of the decade, and though he is guilty of trudging through his usual narrative motions, he is doing so very entertainingly with flair and his trademark wit. Phoenix and Stone are a joy to watch as they revel in the brilliantly farcical material, both well suited to his ad lib approach. A key scene unfolds at an amusement park when characters wander into a house of mirrors, a method often implemented in cinema to convey a sense of trickery or bemusement, and previously by Allen himself. While the tricks up his sleeve, on which he wears his many influences, are tried and tested, sometimes the old ones are the best.
Cinema Perspective 
