Category: DVD & Digital
Reviews of the latest UK DVD & Digital releases.
DVD review: The Infinite Man
A new breed of films are surfacing in the forever changing cinema industry. Independent science fiction, or sci-findie if you will, is a forming genre which takes elements of futuristic technology – in this case time travel – and applies it to a simple story, with no aliens or laser beams in sight. Australian comedy ‘The Infinite Man’, written and directed by Hugh Sullivan, has one location, three actors but a great deal of creativity and intelligence. Dean (Josh McConville) wants to recreate the perfect anniversary weekend with his girlfriend Lana (Hannah Marshall). He takes her to same holiday resort, which unbeknownst to him is now closed and deserted, and has an agenda to repeat the same activities. However, when Hannah’s ex Terry (Alex Dimitriades) appears, his carefully laid plans go terribly awry.
One year later, a heartbroken Dean digs out a ridiculously looking time-travel device which he has cooked up ‘in the lab’ and proceeds to send himself and Lana back in time to give it another go. Of course, this backfires when his current self follows suit, trapping the characters in an infinite loop of misery, jealousy and hilarity. Despite the narrative repeating itself, it never becomes uninteresting and actually gets funnier as the plot develops and we see Dean become hysterical in his pursuit of eternal happiness. The dialogue has the same quirky edge and unenthused tones as that in the New Zealand sitcom Flight of the Conchords, and is delivered with impressive comic ability by all involved.
The inventiveness of the plotting means that the viewer is always kept thinking, and the low-budget environment becomes an intimate microcosm of unrequited love. I hope that the work will reach a wide audience after its festival reception, and it’d be intriguing to see where the ideas could travel with more money to spend. Until then, ‘The Infinite Man’ is substantial proof that big ideas can work well on the smallest of scales, and is a notable feature debut for film-maker Hugh Sullivan.
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DVD review: Interstellar
Christopher Nolan is undeniably one of the most ambitious, forward thinking filmmakers working in the industry today. Known for writing and directing mind-bending films such as Inception and Memento, his thought-provoking style pushes the boundaries of cinema, challenging audiences to unravel his narratives. His latest picture is sci-fi epic ‘Interstellar’ and it is perhaps his most daring yet. Set on a decaying planet Earth running low on natural resources, Matthew McConaughey takes the leading role as former NASA pilot Cooper and is tasked with the almighty responsibility of finding a new home planet for the human race. After much deliberation with his daughter Murphy (Mackenzie Foy) and persuasion from Professor Brand (Michael Caine), he leaves his family behind for the greater good, taking off with biologist Amelia (Anne Hathaway) for a journey through space and time.
DVD review: The Drop
In a year that has pushed the envelope in terms of experimental filmmaking, is there still a demand for simplistic cinema? Or is it in fact more ambitious to do the stripped-back style well, with solid acting and an intelligent script, than convolute your story with gimmicks to stand out from the crowd? Belgian director Michaël R. Roskam brings together an excellent cast for neo-noir drama ‘The Drop’, which harks back to the classic gangster genre movies where nobody can be trusted and danger lurks around every corner. Tom Hardy stars as soft-spoken and unassuming bartender Bob Saginowski who looks after a drinking den alongside his Cousin Marv (James Gandolfini), which is regularly used as a ‘drop’ for the local lowlifes to launder their illegally gotten gains. When a robbery takes place after hours, Bob and Marv find themselves in a precarious predicament, forced to face the wrath of the mob.
Brooklyn’s grimy underworld provides the backdrop for Dennis Lehane’s tightly woven script to unfold. Having previously worked on The Wire as well as collaborating with legendary crime film director Scorsese, his influences are clear as they bleed into the flawed but fascinating characters. Very much character driven rather than narrative driven, the study of the morals and masculinity of the protagonists is always interesting and an appealing subplot plays out naturally about the responsibilities involved in taking on a pit bull pup. While events never really veer too far out of the ordinary story-wise, Roskam puts on a masterclass in tension building, heightening to a satisfying final third.
It is of course terribly sad that this film will mostly be remembered for featuring James Gandolfini’s final screen performance, but it is testament to how phenomenally gifted he was as an actor. Widely known for his long-running portrayal of New Jersey mob boss Tony Soprano, he was an expert in complex multi-faceted drama and playing cowardly Cousin Marv serves as a fitting swansong. Not to be outdone though is Tom Hardy, who matches Gandolfini blow for blow in a battle of acting prowess and again proves himself as one of the best of his generation. He gives a controlled and more subtle turn than we are used to seeing from him, nailing the accent and showing that sometimes less is more.
‘The Drop’ is an effective throwback genre picture, and what it lacks in narrative imagination, it makes up for with the powerful screen presence of the leads. The term ‘actor’s movie’ has never felt more apt. Roskam and screenwriter Lehane present a bleak Brooklyn exterior, an unappealing interpretation of the big apple which hides a black and bloody core of corruption. In this environment, it is equally dangerous whether you’re propping up the bar or serving beers with Bob and Marv from behind it, but where Hardy and Gandolfini are concerned, consider the metaphorical acting bar raised.
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DVD review: ’71
In his feature length debut, Yann Demange’s action thriller takes us to the height of the Troubles in Belfast where political conflict lasted for over a quarter of a century. We witness the hostilities through the fearful eyes of a young British soldier called Gary Hook (Jack O’Connell) whose squad is caught in the middle of a riot, and who is accidentally left behind by his unit after events go terribly awry. As he desperately tries to get back to his barracks and fights for survival, he becomes embroiled in a local war of corruption and betrayal. This is a brutally realistic depiction of terror, enhanced by yet another stunning performance from one of Britain’s best.
There is a patient build-up as we’re first introduced to Private Gary Hook, and we get vital glimpses of his youthful innocence before he is thrust into the face of danger. The grainy cinematography as well as the shaky camera techniques assist in creating a pragmatically dangerous environment. An excellent chase sequence had me gripped as the protagonist is hunted down by a ruthless gang of nationalists. Tension drops slightly as Hook meets a young impressionable protestant who seems born to hate the ‘fenian bastards’ as he so eloquently, and continuously puts it. Their brief encounter offers the only glimmer of humour as the youngster struts the dishevelled streets like a mafia boss, but the friendship is brought to an abrupt, shocking climax which highlights the atmosphere of the film and illustrates how treacherous the situation was in Northern Ireland at that time.
In a role much more subtle and understated than we are used to, Jack O’Connell is excellent. With very little dialogue, his performance relies on his range of expression as well as his general screen presence. Earlier this year, we saw him in Starred Up as a disturbed prisoner, visceral and violent. Here, he is vulnerable, and lost in a antagonistic environment that he knows little about. Support comes in force from Paul Anderson and Sean Harris as crooked figures of authority. Harris’ squirrel faced villain is chilling, and with trouble around every corner, so-called factions are paper thin as every character seems willing to stab their allies in the back. The final third plays out a little predictably, though not without moments on extreme intensity as all sides close in on Hook and each other.
The focus of the thriller as a whole leans less on being a story of the Troubles as such, and more a survival movie as the lead is attacked from all angles throughout. It marks an impressive foray into cinema for the director Demange, who along with writer Gregory Burke and composer David Holmes, captures the threatening mood brilliantly. The main strength of the piece is the central turn from O’Connell. We’ll see him on the big screen again soon, this time as an American soldier in Angelina Jolie’s WWII directorial debut Unbroken, which demonstrates the impact he is having within the industry. Until then, we can celebrate the year he has in British film – the rising star has reached new heights.
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DVD review: Mr. Turner
Joseph Mallord William Turner was a complicated man, revered for his pioneering painting style, but his reputation tainted by his life away from the easel. In typically fluid fashion, veteran British filmmaker Mike Leigh writes and directs a biopic of the artist, which looks at the latter stages of Turner’s life. The great Timothy Spall stars in the eponymous role, and the narrative follows how he balanced his passion for his art with his personal demons. Both Leigh and his regular cinematographer Dick Pope are long-time fans of J.M.W. Turner and this comes across strongly on-screen as the director’s style departs from the zany and improvisational and is executed with great care and precision.
DVD review: Set Fire to the Stars
In 1950, the troubled Welsh poet Dylan Thomas ventured to New York City to read at universities around the country. The man who made this possible was a professor called John Malcolm Brinnin. His account of this time, titled Dylan Thomas in America has formed the film ‘Set Fire to the Stars’, directed by Andy Goddard. Elijah Wood and Celyn Jones star as Brinnin and Thomas respectively. Filmed in glorious black and white, the story explores their friendship and Brinnin’s struggle to understand and tame Thomas’ whirlwind lifestyle as he spirals out of control.
The stylish, often snowy, city backdrop is presented impeccably, the clean and slick cinematography suitably matches John’s pristine appearance but clashes with Dylan’s haphazard existence. Initially, after an excellent opening sequence, it seems as though Brinnin, who is an obvious admirer of his work, is using Thomas for his own personal gain, but as he peels back the layers of his complex individual, he soon cares for and befriends the tortured soul. Dylan deflects attention to his talent by causing controversy and making lewd remarks, including reciting inappropriate yet amusing limericks. The performances though, of the poetry itself, are electric.
Despite their differences, they share the odd moment of togetherness and acknowledge the mutual respect they have for one another. A scene in which they pull an all-nighter to grade student’s work is majestic, as they discuss language over coffee and cigarettes. The mise-en-scène showing the passing of time is poetry in motion. Wood and Jones perform very well, and bring the necessary charisma and energy to their roles. An impressive supporting cast including Shirley Henderson, Kevin Eldon and Kelly Reilly is solid, and their characters are involved in carving out the personas of the two leading men, showing other facets of their deep personalities and hinting at their complicated pasts.
‘Set Fire to the Stars’ illustrates the fact that you don’t have to be a musician to live the rock and roll way, and Dylan Thomas is proof of that. In the city that never sleeps, he enjoyed an excess of fatty food, red eye liquor and feisty women while Brinnin cleaned up the mess he left behind. This is an enjoyable, and informative biopic with an excellent display of acting that sheds some light on the man behind the words of wizardry. Dylan says to John in one scene whilst dissecting his poetry that understanding is the least important thing, and that feeling the emotion behind it comes first. Perhaps the same could be set for him as an artist and his life, and this adaptation certainly feels satisfying.
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DVD review: Nightcrawler
‘If it bleeds, it leads’ is the heartless crime journalism motto in noir thriller, ‘Nightcrawler’ written and directed by first-timer Dan Gilroy. The film is centred wholly around entrepreneurial nutcase Lou Bloom (Jake Gyllenhaal) who roams the neon lit streets of Los Angeles in search of a money-making scheme. When he witnesses a terrible highway accident and a man capturing the events on camera, he sees an opportunity to capitalise on, deciding to have a go himself, selling his grisly footage to the highest bidding news station. This dark slice of cinema is fascinating throughout, exploring the moral philosophies of freelance reporting through the eyes of and focussed through the lens of a driven, but extremely intelligent lunatic, who will stop at nothing to get what he wants.
The narrative ticks along at an alarming pace as Bloom quickly builds his reputation, hiring Rick as his hard-working assistant and forming a working relationship with Nina, a news channel director. Lou continuously pushes his assets to the absolute limits, always wanting more sales, more success and consequently more money. The gloomy style of the cinematography along with an unsettling score combine to create a creepy cloud that descends on LA after dark and is the suitable environment for the complex protagonist to go about his business. By day, he is calculating and clever, delivering motivational nuggets to justify his motives. When pestering a potential employer, he argues that ‘if you want to win the lottery, you have to make the money to buy a ticket’. By night, he is equally direct and eloquent in his methods of madness but possesses a cruel, dangerous streak.
Jake Gyllenhaal, who also produced the project, describes his latest character as a human interpretation of a coyote, lurking in the shadows of the metropolis. He lost twenty pounds in weight for the role and his gaunt look and inhumane glare give Lou Bloom a chilling exterior to match the mercilessness behind the glazy eyes. Aspects of other cinematic anti-heroes can be pulled from the intricacies of Lou Bloom; he has the social awkwardness of Travis Bickle and the driving prowess of Gosling’s unnamed stunt driver, as well as the psychotic tendencies of Patrick Bateman. These combined attributes though make Bloom memorable in his own right, and Gyllenhaal is scarily good in his portrayal. Excellent support comes from British star Riz Ahmed as Bloom’s loyal aide who goes against his ethical scruples in his desperation for steady employment.
‘Nightcrawler’ continues an interesting trend of major acting talent turning to darker, indie material in order to get more in-depth satisfying roles, though Gyllenhaal now finds himself on the wrong side of the moral compass, following his previous authoritative parts. Following Bloom from one crime scene to the next, we as an audience become almost complicit in his wicked ways, laughing at his words of warped wisdom and absorbed in his murky profession. While discussing his line of work with a police officer, he gleefully states ‘I like to think that if you see me, you’re having the worst day of your life’. I would never want to come across his kind face to face but on-screen, his company is well worth your time.
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DVD review: Fury
The Second World War has provided a platform for a lot of cinema, exploring many different facets and angles of battle through various styles. In its subject matter, focussing its attention on an American tank crew heading into Nazi Germany in the spring of 1945, David Ayer’s action drama ‘Fury’ covers ground that is, to my knowledge, relatively untouched. Brad Pitt stars as Don ‘Wardaddy’ Collier, the fearless leader of the pack and is joined by a solid cast including Shia LaBeouf and Michael Peña. We join them in their tin can of terror just as they’ve lost a man and picked up a replacement in the sorely inexperienced Norman Ellison (Logan Lerman), a trained typist who has been in the army for just eight weeks. As he is thrust into conflict along with four bruised, war-torn figures, the differing perspectives of war are observed and the dynamics of the group are severely put to the test against all odds.
The film is just as much about five men living through their shared and personal struggles as it is about the canvas of war that surrounds them. Outside the tank, limbless bodies lay in their hundreds on vast battleground illustrating an achievement in Roman Vasyanov’s cinematography and inside, it is just as scary, due to the intensely claustrophobic atmosphere. The combat scenes which, apart from wildly bright bullet trails that look would look more at home in a sci-fi movie, are fairly run-of-the-mill and the strength should lie in the solidarity between the five soldiers, built up through their emotional journey. However, I felt the characters, despite their likeable ingredients, lacked the necessary depth to achieve an authentic sense of togetherness. By the end, we should be completely invested in them but instead, due to the absence of emotioneering, we have an isolated squad of stereotypes. The narrative treads the line aimlessly between brutal anti-war elements and glamorisation through camaraderie but gets lost somewhere in between.
‘Ideals are peaceful, history is violent’ is just one chunk of cheddar in Ayer’s script full of cheesy one-liners. In one quite cringeworthy sequence, each inhabitant of the Fury tank in turn shout out ‘the best job I ever had’. It attempts to accomplish the same all-for-one, one-for-all mentality that Band of Brothers excelled at but it is hard to get there in just over two hours. Brad Pitt is well cast and his usual undeniable screen presence is suited to the role. He looks the part with a razor-sharp cut and scarred physique, and is probably enjoying himself way too much, though from Tarantino’s unorthodox WWII picture ‘Inglourious Basterds’ we know how much he loves killing Nazis. Lerman also impresses with a great performance that transforms a terrified office boy into a Kraut-killing machine. A brief encounter with a young German girl is powerful and provides a short but pivotal turn in his rather rushed transition from boy to man.
The story trudges through unforgiving mud and turmoil up until an entertaining and suspenseful finale that doesn’t quite make up for the confused direction which mars the success as a whole. The ambition to make the film both grittily realistic and heroically valiant, as well as implementing aspects of religious symbolism is admirable but overstretched, and the one-dimensional set-up results in a more sensationalised outcome than the potential of the premise deserves. While the 76mm ‘Fury’ tank gun fires wide of the target, there are more World War II stories to be told on-screen in ‘The Imitation Game’ and ‘Unbroken’ later in the year, meaning that this vital part of history will continue to be immortalised in cinema.
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DVD review: Coherence
The horror genre is full of cliché and expectation, which means it is becoming increasingly tough to achieve originality when making a film of this ilk. ‘Stay away from the door’ and ‘we should stay together’ have become part of the scary movies culture but low-budget sci-fi chiller ‘Coherence’, the first feature from director James Ward Byrkit, cleverly takes the tired formula and refreshes it. The film largely takes place within an intimate house where a dinner party is being held, on the night that a comet is due to pass through our skies. When signals fail, phone screens shatter at random and the power goes out across the neighbourhood, the group of friends realise that all is not as it should be.
Shot using the shaky-cam method, a paranormal activity documentary vibe is established early on. As characters are introduced, they are zoomed in upon and interrogated with an array of extreme close ups. Abrupt cuts are used, stopping at black a little longer than we are used to. These techniques help to quickly create an unnerving atmosphere that refuses to lift throughout.
As the strange events escalate into chaos, the fracturing relationships between the supposed close-knit gang are explored, and put to the test. The reality of what we are witnessing becomes unclear as the intricacies of the narrative go into overdrive, while the director playfully subverts our preconceptions, though the score and dialogue do venture into rather familiar territory.
The film is well acted throughout, and I particularly enjoyed Nicholas Brendon’s performance as the dinner party host Mike. He injects a shot of humour that is consistently judged, without ever overstepping the mark. Because there are eight characters to meet, they can’t all be developed fully which effectively adds to the mystique. Details are revealed in small stages, so personas and problems creep into the story while they come to terms with the situation they are faced with.
‘Coherence’ is too intelligent a film to thrust the horror in the face of audience and instead it allows the viewer to think through possibilities, letting our imaginations conjure up the terror as the plot twists. This represents a stunning display of low-budget film-making. The relationship turned love triangle involving central figure Emily, played by Emily Baldoni, adds another interesting dimension that distracts from the real issue at hand occasionally. A hand written message is stuck on the door of the house about halfway through which starts ‘Guys, I don’t want this to freak you out…’ I am afraid it is far too late for that.
Cinema Perspective 