DVD review: The Place Beyond The Pines

August 12, 2013June 16, 2022 Garry Arnot1 Comment

Derek Cianfrance previously got the best out of Ryan Gosling with ‘Blue Valentine’ in 2010, and this time around, he’s topped it. ‘The Place Beyond The Pines’ spans three generations, following motorbike stuntman Luke Glanton (Ryan Gosling) and rookie cop Avery Cross (Bradley Cooper) in Schenectady, New York, the English meaning of which gives the film its name. When. travelling loner Luke discovers by chance that he has a young son, he abruptly quits his job to stick around, disillusioned by the concept on settling down and starting a family. In a desperate attempt to provide for his child, he begins a life of crime, robbing banks in a smash and grab but calculated fashion, using the ill gotten gains to buy a cot and gifts for his offspring. A brooding illustration of fatherhood and all that comes with it, fixed in an ambitiously brave structure assisted by standout performances, this quietly intelligent tale hits hard.

Split into three acts, shown chronologically, this approach to filmmaking is certainly admirable, though the cinematic impact of the first act is so strong that I feel it outshines the second and third. Hitchcockian in its camera work, the one take sequences and extreme close ups draw the audience into the story brilliantly, straight from the opening over the shoulder scene of Luke as he enters a spherical cage to join his ‘heartthrobs’ ahead of their death defying travelling fair performance. This provides an instant intimacy with the character, giving a very humanistic insight into his flawed and psyche. To jump from the first act to the second through a tragic twist, the focus shifting from Luke to Avery, is a remarkably bold move, which clashes with the traditional method of storytelling, but unfortunately signifies a slight lull in interest, with the moral dilemma of the young policeman failing to garner quite as much likeability as the rock n’ roll fable it follows. Though it picks up again in the final act, coming fifteen years later, showing the sons of Luke and Avery, and the lives they lead, consequential of the paths their fathers led before them, bringing the beautifully poetic arrangement to its somewhat predictable conclusion. Holes can be picked in the plot, like the sons AJ and Jason coincidentally meeting across a school dinner table and becoming friends when their backgrounds are so contrasting, but it is difficult to be over critical when the overriding messages of class and justice are so powerful, and presented in such an effortlessly stylish way, memorable shots throughout and a subtle soundtrack resonating, tying the trio of tales tightly together.

In a story which offers a brutally realistic take on family, a trait which appears a developing trademark for director Cianfrance, the acting is spot on, wholly doing justice to the rich characters. Gosling, who worked closely in developing the ‘Handsome Luke’ creation, is mesmerising. With shades of his portrayal of ‘the driver’ in crime cult hit ‘Drive’, he is again mysterious and moody, and has another super cool jacket, his damaged persona dripping with magnetism, but here he takes it to another level. The performance is multi-layered, and the character is immediately iconic, with his doodle tattooed physique and platinum blond hair. His onscreen chemistry with love interest Romina (Eva Mendes) is electric, though this is probably helped by the fact they’ve been dating off screen for two years. The other star, dominant in the second part is Bradley Cooper, who also gives a career best piece as the dislikeable Avery Cross. Though Gosling is undoubtedly difficult to follow, Cooper does a professional job. Flimsy and overrated in the past, here he takes a deeply conflicted character, with dividing loyalties and surprisingly carries it off exceptionally. A suitably great supporting cast includes Ben Mendelsohn as bank robbing grease monkey Robin, and Ray Liotta as sleazeball cop Deluca, both heavily involved in pivotal plot devices. Even the two youngsters playing the sons in the closing third do very well, carrying attributes of the roles prior, and showing promise for the future. Dane DeHaan with the recklessness of Luke admittedly impressed more so than Emery Cohen as the cocky rich kid son of Avery and Jennifer, his rap star wannabe attitude seemed off-key and unnecessary, but this fault is with the writing I guess, not with the acting itself. Both hold their own in a tense finale to the father and son epic.

A commendable slice of cinema with a unique storytelling method, ‘The Place Beyond The Pines’ is a thought provoking piece of work, boasting a memorable and intriguing character in daredevil Luke Glanton. Ryan Gosling is the stand out, epitomising cool and continuing his working bond with Cianfrance, now competing with his other director/actor partnership with Nicolas Winding Refn who has worked with him in Drive and Only God Forgives. He announced a break from the silver screen, to sit in the director’s chair for his own project ‘The Lost River’, but with the media tipping him all the roles going, let us all hope he isn’t away for long. ‘If you ride like lightning, you’re going to crash like thunder’ is the tagline alongside Luke’s rapid path, but with the Gosling fan base ever increasing, his own ride surely won’t be crashing anytime soon.

4stars

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DVD review: Trance

August 4, 2013January 28, 2017 Garry ArnotLeave a comment

Nobody can fault Danny Boyle’s ambition. He took Irvine Welsh’s beloved drug fuelled novel Trainspotting and created a cult classic, he put the true story of an adventurer stuck between a rock and a hard place on-screen brilliantly with 127 Hours and last year he orchestrated the Olympic opening ceremony showing what he can do away from the big screen. Now he is back in the director’s chair with ‘Trance’, a heist thriller starring James McAvoy and Rosario Dawson but where in the past his risks have paid off and then some, making him one of the most respected filmmakers of his generation, his latest effort falls short, disappointingly appearing more of a muddled mess than a marvel masterpiece.

The premise of the plot is fantastic on paper; an art auctioneer with a gambling addiction is complicit in the theft of Francisco Goya’s Witches in the Air, but when he is knocked out by gang leader Franck and can’t remember where he hid the painting, hypnotist Elizabeth Lamb is called upon to assist Simon in accessing his memory to retrieve the stolen artwork. The films begins well, with the opening sequence heist scene carried off effortlessly, generating excitement very early on. Artistically, this is a film to be admired, boasting bold, but stylish visuals and there are exhilarating moments throughout, improved by an uncomfortably mesmerising soundtrack, but this just isn’t enough. The complexity of the narrative becomes increasingly untidy, and the characters have little to no depth, becoming nothing more than pawns in an increasingly frustrating clutter. Obvious comparisons can be made with Christopher Nolan’s dreamy Inception but where putting that puzzle together was confusing, it was undoubtedly fun whereas Trance is a jigsaw that would make you want to flip the table before picking up all the pieces and putting them firmly back in the box.

James McAvoy shows promise in the lead role, but seems restricted, drowning in a series of sub plots that don’t really go anywhere. I did, however, enjoy the internal monologue segment, reminiscent of Ewan McGregor who provided the iconic ‘choose life’ speech in Boyle’s most impressive work. Vincent Cassel is weak as the villainous gang boss, and his team of goons are no better, none of them given their own identity. As a group of so-called ‘baddies’, I think there’s probably been Power Rangers’ foes’ that have been taken more seriously. With the male leads failing to cause much of a stir, it is left to Rosario Dawson to raise the bar, delivering the goods in a challenging role that develops at an uncontrollable pace, which she manages to maintain control of, holding it together to give a mature performance that steals the film, also earning some unexpected sex symbol status in suspenseful X-rated segments, handled expertly by Boyle’s stylistic direction.

‘Trance’ is not without its strong points, but with a back catalogue as glittering as Boyle’s, this will ultimately be seen as a letdown, not matching his past successes in any way shape or form. With the anticipation and intriguing foundations, it should have offered so much more though I feel we can let him off with one slip-up, as he has earned the right to be experimental. If nothing else, he has shown that his imagination is still as inventive as ever, which can only be a positive thing, even if the execution this time is way off the mark.

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DVD review: The Incredible Burt Wonderstone

July 28, 2013May 4, 2014 Garry ArnotLeave a comment

As American goofball comedies go, ‘The Incredible Burt Wonderstone’ is probably as good as you will get, due to the all star veteran cast. Set in Las Vegas, we see Burt Wonderstone (Steve Carrell) and Anton Marvelton (Steve Buscemi) find fame as successful magicians. Their glittering career is threatened by controversial street magician Steve Gray (Jim Carrey) and they must put personal differences aside to prevail, recapturing the magic that first kindled the friendship.

The script writes itself here, and there are no surprises, playing off a real life scenario; the traditional Penn & Teller-esque act versus the extreme David Blaine type. It is a reflection of the ever-changing entertainment industry, similar to silent hit The Artist which looked at silent movies phasing out to make way for ‘talkies’, it shows how a tried and tested art form can become stale, and if it’s not updated, can be swept away by ‘the next big thing’. This is easy viewing at it’s easiest, with stereotypical subplots and a radio friendly soundtrack, but that isn’t necessarily a bad thing. Laughs do come thick and fast, especially from street magician Steve Gray and his hilarious attempts at holding in his urine for days, and spending the night sleeping on red hot coals.

At the heart of this film, it is blindingly obvious that the cast are enjoying themselves, bouncing off one another and revelling in not taking themselves too seriously, in particular Buscemi and Gandolfini who are light-years away from their ‘two Tony’s’ Soprano’s relationship. Both have impeccable timing, adapting to the genre with ease. Steve Carrell also puts in an interesting performance, escaping the nice guy typecasting he is so closely associated with for a chauvinistic love-hate character, yet he still seems very much in his comfort zone, and delivers the goods. The real pleasant surprise is Jim Carrey, breezing into the plot about a third of the way in, stealing the limelight as eccentric guerrilla artist Steve Gray, which I think is his funniest piece in over a decade. The part was initially lined up to be underplayed by Adam Pally and was altered at a later stage once Jim Carrey was involved as he apparently wanted to take the character in a ‘Jesus-y direction’.

‘The Incredible Burt Wonderstone’ is a lot of fun, and it’s brilliant to see a cast having such a great time, despite the predictability of the narrative. With a lesser known cast, this would just be another throwaway comedy. It is silly from the off, and once the inevitable US sentimentality kicks in, the jokes do subside a little. Though once the awkward ‘romance’ between Burt and Jane passes through, the laughs do fortunately return. The big positive is the welcome comeback of the funny Jim Carrey, and with his turn in ‘Kick Ass 2’ also on the way later this year, hopefully his return to form will continue.

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DVD review: Side Effects

July 28, 2013May 4, 2014 Garry ArnotLeave a comment

After Steven Soderbergh announced his retirement, the talk around his final film began and after his recent successes with Contagion and Magic Mike, the anticipation of ‘Side Effects’ has been high, though the film doesn’t need the ‘last film’ hype to support it; people would still be talking about this in ten years time regardless. A medical psychological thriller starring Rooney Mara as Emily, a young wife with a depressive history, and Jude Law as her psychiatrist, Dr Jonathan Banks. After Emily drives her car into a wall at speed in an apparent suicide attempt, Banks steps in to help, trying to assist her in recovery, administering drugs intended to ‘stop your brain telling you that you’re sad’, but when he gives her the newly available Ablixa, disaster strikes and his professional and family life fall apart, leaving questions to be asked which seem to have no answers.

When recommending ‘Side Effects’, and confronted with the question of what it is about, it is extremely difficult to give an answer without wanting to blurt out the whole plot. It is a disturbing tale of deceit where the flawed integral characters give nothing away, duping each other as the narrative dupes the audience. Just when you think you have the plot weighed up, it changes. There is no hero in this story, just greed and trickery which gives it a shockingly current quality and provides a twisted, but brutality honest projection of the society we are living in. Despite the characters not being entirely likeable, it is imperative to see how their stories pan out as even though you don’t necessarily care for the characters, you care about what will happen to them in the end. Not only is the concept exceptional here, but it has visuals that complement it so perfectly. The palette is limited, the shots drained of colour and the use of linear cinematography traps attention. Never has New York City looked so claustrophobic and unforgiving.

So maybe the cast will be underwhelming, drowning in the complexity of the script and the visual strokes of genius, but no, the acting is faultless. Rooney Mara follows on from her beautifully warped performance as Fincher’s Lisbeth Sander with another masterstroke. She’s come a long way since playing Mark Zuckerberg’s girlfriend in The Social Network. The character of Emily is so deeply multilayered and Mara excels, taking it in her stride, portraying a vulnerably fractured soul that on paper would maybe seem far-fetched and making her believable. Not to be outdone is Jude Law with what I think is a career-best performance as Dr Banks. He shows class comfortably as the wealthy, well dressed doctor, so smooth and self confident. Then the character cracks show and a murky past is touched upon, we see Banks descend into a state of paranoia and anxiety, glugging bottles of beer in his pants in the afternoons whilst on a laptop, hunting for evidence to prove his innocence and it’s then when we see Law stand out. It is at Banks’ lowest when Law’s standard is at its highest. The supporting cast are excellent also, Catherine Zeta Jones mysteriously menacing as Emily’s former psychiatrist Victoria Siebert and even walking talking lump of flesh Channing Tatum can do no wrong as Emily’s high flying businessman husband, who’s just spent four years in prison for inside trading.

If this is Soderbergh’s last hurrah, then he will be sitting up from the director’s chair with the knowledge that he has created a masterpiece. He’s got the best out of his actors, put a brilliantly clever script to very good use and made a thought provoking film that deserves all the plaudits it will no doubt receive. If you are only as good as your last film then for Soderbergh, it is a job well done.

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DVD review: GI Joe: Retaliation

July 14, 2013May 4, 2014 Garry ArnotLeave a comment

Can you smell what The Rock is cooking? Whatever it is, I think the recipe needs a serious rethink. Following on from 2009’s ‘GI Joe: The Rise of the Cobra’, Channing Tatum’s Duke makes way for Dwayne Johnson’s Roadblock as the new leader of the GI Joes. When nanotechnology is used to disguise villainous Zartan as the President of the United States, Cobra Commander and Storm Shadow are released from their high security chambers and nuclear weapon Zeus is built. It is left to the Joes to put a stop to their destructive plans, calling in the original GI Joe, smugly portrayed by Bruce Willis to help save the day, and the world.

In a plot full of stereotypes and a script full of very little, you’d think it’d be difficult to find something positive to mention, but here it is easy as the visual ambition pays off big time, producing scenes that are great to watch, providing comforting escapism, allowing the viewer to soak up explosions and action sequences without having to think too much. In particular, the ninja mountain fight scene is prominent, along with some impressive CGI city crumbling. For fans of the franchise, I can imagine it would be satisfying with a massive host of characters and nods to the series but as an action sci-fi flick it is nothing out of the ordinary.

Losing Joseph Gordon-Levitt and Christopher Ecclestone from the original, the Hollywood sequel draft-ins include Dwayne Johnson and Bruce Willis. Johnson’s comic patter is a perfect match for co-star Tatum, their cringe worthy dialogue like verbal ping pong, but where neither player quite manages to get the ball over the net. Bruce Willis struts into the story halfway through, excellently playing Bruce Willis playing General Joseph Colton, with trademark cocky glances and awful one-liners, looking as though he feels he is doing the picture a favour in gracing it with his presence.

If you ignore the patchy narrative, the latest instalment in the ‘GI Joe’ franchise provides an enjoyable enough 90 minutes, boasting nicely choreographed fights and striking cinematography. Achieving box office success, it has its draws and to the cult following it will stand as a worthy addition to a series which looks likely to continue, but to the average moviegoer it serves as nothing more than a bit of mindless fun.

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DVD review: Stoker

July 1, 2013March 14, 2024 Garry ArnotLeave a comment

Even from the title, there is an obvious gothic reference and these continue throughout South Korean director Park Chan-Wook’s first move into English speaking cinema with ‘Stoker’, a coming-of-age psychological thriller. Starring Mia Wasikowska as India Stoker, a misfit teenager, coming to terms with losing her father, whilst struggling to connect with her manipulative mother, immaculately played by Nicole Kidman. Once the mysterious uncle, Charlie (Matthew Goode) arrives on the scene at his brother’s funeral and then moves into the family home, the family dynamic gradually falls apart, descending to darkness.

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DVD review: The Battle of the Sexes

June 24, 2013May 4, 2014 Garry ArnotLeave a comment

‘The Battle of the Sexes’ looks at the women’s liberation movement in the 1970s, focussing on tennis and the conflicts on and off the court of Billie Jean King. This insightful documentary is named after the series of tennis matches involving ‘chauvinist pig’ Bobby Riggs who at the age of 55, claimed that he could easily defeat any female professional as he believed the female side of the sport was far inferior. When he issued an open challenge to any woman who wished to take him on, all eyes turned to Billie Jean King who was a pioneer at that time.

As the title suggests, this contest was developed by the media not just as a tennis match, but a battle between men and women, and the documentary uses this aspect of the marketing well, giving the archive footage a boxing promotion vibe which brings striking visuals and laughs, particularly during ridiculous Riggs segments. This poses the fascinating question of whether he really was the sexist fool and compulsive gambler he seemed to be or was it all an act? Was he in fact an intelligent businessman, carefully plotting to make money from his bold outbursts? Either way, his actions led to a spectacle which advertised the sport to millions and arguably put tennis where it is today. The match itself was set up as if it was a Rocky Balboa duel, with use of extreme close ups, slow-mo sequences and a dramatic score. Though being a documentary, the outcome played out years in the past long predetermined therefore the footage drags at times, failing to achieve the intended suspense.

At this time off the court, Billie Jean King and the other key figures of the women’s game were fighting another battle as they were dissatisfied with the smaller prize money awarded compared with the amounts dished out in the males game. Dubbed the ‘Original 9’, they refused to take part in the tour and in turn bravely set up a tour of their own, the ‘Virginia Slims Circuit’, each playing for only one dollar apiece. This debate is carried out mostly through the talking heads of BJK, Virginia Wade, Margaret Court amongst others, and offers a nice balance to the film, providing a tidy structure and a steady pace.

In the aftermath of the contest between King and Riggs which is the built up finale of the piece, there is a neat summary involving the players of the modern era including Maria Sharapova and the Williams sisters which aids in showing the impact Billie Jean King has had on the game, and on woman’s sport in general. The only problem I have is that although a lot of ground is covered, the character study of Billie Jean King herself is only glossed over. Perhaps as she was not only the star but also one of the people involved in the making of the film, details of her mysterious personal life was held back. The issues of her marriage and her sexuality are merely touched upon, but are not investigated fully, which in fairness may not be of relevance to the key subject matter but would offer a greater understanding of the human being and her relentless courage. Despite not being as hard hitting as King herself, ‘The Battle of the Sexes’ is an eye opening historical account, executed with style.

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DVD review: Broken City

June 24, 2013May 4, 2014 Garry ArnotLeave a comment

‘Broken City’ is a political crime thriller, starring Mark Wahlberg as ex-cop turned private investigator Billy Taggart and Russell Crowe as Mayor Nicholas Hostetler. When Taggart is in court, set to be imprisoned for the murder of a New York thug, the Mayor pulls some strings to get him off the hook. Seven years later, with an election looming, it’s payback time when the Mayor asks Taggart to track his wife as he suspects she is having an affair. This leads to more than we as an audience, and Taggart, are first led to believe, uncovering secrets and embroiling Taggart in Hostetler’s murky feuds, both politically and on a personal level.

Nothing about ‘Broken City’ is original, each character flat and one dimensional, picked from the bargain bucket of film stereotypes and thrown together in a tired plot; the beaten down ex-cop with an alcohol problem, the crooked Mayor, more gangster than politician and the mysterious hard faced wife with a hidden vulnerability. However worn out the concept is, if you see past the ‘movie plot generator’ used to build it, it is a very enjoyable watch and I can think of worse ways to pass a couple of hours. It can be pleasant having the opportunity to sit back and take in the swooping location shots and admire the slick visuals, knowing the narrative will play out steadily where you expect it to, with no nasty surprises.

I think even the stars suspect the predictable nature of the film, and seem to put that to one side and enjoy themselves which is great to see. Mark Wahlberg, who in recent roles seems to be either underplaying the super serious type, see The Fighter, or overplaying the goofball, see Ted, and here he manages to combine the two, portraying the tough guy with a sense of humour, and he is genuinely funny this time. Russell Crowe also seems very much at ease with his part, spouting lines with venom and giving dirty looks, behind the ‘good guy’ persona he flaunts to his voters. The script is fair, dialogue sub-standard but lifted by the performances. Kyle Chandler pops up yet again, perfecting the ‘angry man in suit’ part he seems to picking up in many of the recent releases and Zeta Jones is quietly passable, her screen presence juxtaposing her character’s fear of her husband.

A decent attempt at rejuvenating a well known formula into something current though it falls short, lacking impact. On a brighter note, it’s a joy to watch the two stars give solid performances, sharing a few gripping scenes and aesthetically, it’s an ambitious homage, achieving the noir look it is going for. If the screenplay was as fitting a tribute as the visuals, then it would hold more value. Don’t expect this film to change your life, it won’t even make much of a difference to your week.

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DVD review: Song for Marion

June 24, 2013May 4, 2014 Garry ArnotLeave a comment

2013 saw the release of two British comedies with the premise of ‘old people singing’ but where I felt Dustin Hoffman’s effort ‘Quartet’ was chock full of pretentious schmaltz, ‘Song for Marion’ seems completely genuine. It is a heartfelt love story directed by Paul Andrew Williams, looking at the relationship between grumpy old man Arthur, expertly played by Terence Stamp, and his dying wife Marion (Vanessa Redgrave), but also his strained relationship with his son (Christopher Eccleston). Set around an aging choir group, affectionately known as ‘The OAPZ’, led by charismatic music teacher Elizabeth (Gemma Arterton), Marion enjoys the final chapter of life as Arthur struggles with the thought of carrying on alone.

As plots go, this doesn’t have an exciting narrative and won’t have you on the edge of your seat. It plods along nicely, but predictably, to the out of tune beats of dodgy cover versions. Where the film lacks in invention and creativity, it makes up for in warmth and the British familiarity is gently comforting. Mixed with the working class elderly backdrop, you can almost smell the mince and tatties and cigarette smoke through the screen. The supporting cast provide light relief from the heartbreak suffered by the central couple and whilst there is great sadness and loss, it gives the plot somewhere to go and prevents it from becoming depressing. The family dynamic is so believable and because of the tightly knit scenes in the family home, giving insight into Arthur and Marion’s everyday routines, an attachment is built with the couple, creating a closeness and a few incredibly touching scenes, but holding your hand along the way.

Terence Stamp and Vanessa Redgrave are outstanding in this. The on screen connection is undeniable and the dialogue is so carefully handled. The intimate scenes that they share provide the highlights of the film, giving off the same impression of longevity in a marriage over an hour that an established soap opera pairing would after building a working relationship over years. By excelling in this manner across the first half of the film, it really assists and props up the second half, Terence Stamp playing Arthur beautifully alone, lost in his surroundings without his companion, so much so that he cannot sleep in their bed at night without her. After Marion’s inevitably sad passing at around the halfway point, it paves the way for excellent professional performances from both Gemma Arterton and Christopher Eccleston, providing spark, each cast member holding their own and rising above the restrictively unimaginative script.

‘Song for Marion’ is a courageous piece of work, providing veteran actors an opportunity to show they’ve still got what it takes to tug on the heartstrings of an audience. They certainly achieve this, particularly Stamp, supplying a multi-layered character and a musical performance that I nearly got up out of my seat to cheer. For a film with the word ‘song’ in the title, there are too few strong musical segments but this somehow doesn’t seem to matter as the strength of the overall acting outweighs the flaws, leaving behind a tender, thoroughly enjoyable working class drama.

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DVD review: Lincoln

June 8, 2013May 4, 2014 Garry ArnotLeave a comment

With twelve nominations, Steven Spielberg’s political drama ‘Lincoln’ was the bookies’ favourite in the build up to the 2013 Oscars. The subject matter, the acclaimed director and the fact that it stars two time Academy Award winner Daniel Day-Lewis as America’s greatest historical figure, at first glance, everything about this production screams ‘Oscar Best Picture Winner!’. This film seems to know how big a deal it is, which nearly causes its downfall as it relies on a few colossal performances from acting veterans to rescue it from becoming a bit of a bore.

It has been discussed as a biopic of the 16th President of the United States, the man who ended the civil war and abolished slavery, Abraham Lincoln, though the film is far from a life story. Based on the novel ‘Team of Rivals: The Political Genius of Abraham Lincoln’ by Doris Kearns Goodwin, it focuses in on just four months, in 1865, in which Lincoln fights to pass the 13th Amendment and end slavery. Summed up, it is essentially two and a half hours of men shouting at each other in dark rooms, and for the first hour, it is incredibly slow. The back and forth dialogue is so heavy in spells and when DDL isn’t on screen, you’d be forgiven for wanting to close your eyes for a while until he comes back. The John Williams score lacks imagination and although it serves as a reminder that this is a Spielberg film, it feels at times feels dated and sounds like a regurgitated parody of his earlier work. Spielberg ditches his blockbuster cinematography and opts for stripped down simple shots in poorly lit rooms, involving various bearded men with egos that, for the first hour, seem to blend into one and if you’re not clued in on the history of American politics, it can be difficult to follow the narrative and maintain interest. Luckily with a running time of 150 minutes, it gives itself plenty of time to improve, and it certainly does.

Naming the film after the central character was to me, misleading, as instead of coming away with a real character insight, I am left wanting more, wishing to track down greater detail of who the real man was behind the political persona. Where the film rips through this barrier and offers a look into his family life is when it is at its strongest. Around the halfway mark, there are two scenes in particular which bring this film back from the dead, both showing the Lincoln family dynamic at its most vulnerable. One involving Lincoln verbally sparring with his wife, Mary Todd Lincoln, exceptionally played by Sally Field, and the other with his son played by Joseph Gordon-Levitt who carries out another professional performance in the year he has been in everything. These moments show Lincoln not as President, but as a loving husband and as a grieving father and this is where I believe Daniel Day-Lewis excels and evokes real emotion. He beautifully underplays a big role here and aside from a couple of heartfelt outbursts that make you want to stand up and cheer, he remains reserved for the majority and focuses his performance on the subtle mannerisms of an old man battling to leave his country in a better position than it was when he first took the reins.

I had thought Lincoln would do a lot better at the Oscars, though Day-Lewis deserved his award and it was good to see Field receive a nod. I feel that as a whole, it didn’t fulfil it’s potential and I fear that without the established Hollywood names, it may have been overlooked. It is an extremely grown up film and won’t suit the average movie-goer but still very much worth seeing, though if I am honest, I won’t be in a hurry to go through it again.