Silence (2016)

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Silence, this religious epic, a dream project of director Martin Scorsese for decades, is somewhat difficult and unwieldy, as well as a bit gory, but it’s also magnificent, beautiful, and masterful.” – Common Sense Media ★★★★★

This is what makes Scorsese’s film so radical, and so unlike many other movies about religion: It’s actually art.” – The Atlantic ★★★★★

Returning to the ideas that haunted his whole career, Martin Scorsese delivers a film of grandeur and great fervour about Christianity, martyrdom and the silence of God. Sacrifice in the service of the greater good beckons to the ambiguous heroism of one man reaching a future of earthly peace and comfort, in the midst sin and humiliation. Martin Scorsese takes a fearless plunge into deciphering the silence of God in the midst of human suffering, drawing out a passion project of incomprehensible faith and power.

Following the 1966 passion novel by Shusaku Endo, Silence pays its small tribute to the extremely profound influence of Portuguese missionaries who risked their lives to bring the word of God to 17th century Japan. Andrew Garfield, with his eyes filled with fervour, stars as Father Sebastian Rodrigues. Adam Driver, his somewhat starved body resembling an ascetic saint, co-stars as Father Francisco Garupe. These two young Portuguese priests, fierce and full of determination, journey east to Japan in search of their missing mentor Father Cristovao Ferreira, played by Liam Neeson. Senseless rumours drain the village of his apposition to the Christian faith, but when Rodrigues and Garupe arrive in Japan they quickly realise just how viciously Christianity is being suppressed. What unfolds is a gruelling story of relentless faith under ruling samurai who are mercilessly committed to flushing out hidden Christians, any way they can.

Within Martin Scorsese’s’ creative collaboration with Jay Cocks, who also wrote The Age of Innocence, the script doesn’t wallow in the violent visuals, but rather utilises them as a way to reflect the horror of religious persecution. The introduction of doubt is the propeller of the film, considering 2 hours and 40 minutes of spirituality is unlikely to sell to an audience of Marvel Comic Universe-ites. In particular, Liam Neeson is phenomenal in reflecting his character’s reconciliation of conviction and doubt about God, in choosing to suffer with mankind instead of ending its suffering. This is the heart and soul of the film. But all of the performances in Silence are sensational, each character grabbing onto this intense, sacrificial dedication that pulses through their very veins. As Scorsese mentioned, “Silence is about the necessity of belief fighting the voice of experience.” And there is no doubt that Scorsese maintains a rigorous fix on the complexity of faith, refusing to temper with the film’s harshness with any form of sentiment. But to most visionaries’ delight, issues of this complexity are not designed to go down easy, but instead, they are entitled to live and breathe in the cinema air.

But if I can add a personal comment from a Christian point of view, something baffles me about the way faith wavers under pressure, even though martyrdom is so prominent today. *Spoiler alert* I hated the ending – I think he should have died for his faith.

But if I can add a personal comment, from a Christian point of view, something baffles me about the way faith wavers under pressure, even though martyrdom is so prevalent today. *Spoiler Alert* I hated the ending – I think he should have died for his faith.

The price for your glory is their suffering.

Silence is a technical, visual and soulful marvel with editing capacities that effortlessly overlap into pure cinematic art. No one with the genuine belief of the power of cinema should miss this epic creation of essential filmmaking from the modern master – a man who embodies the images he puts on screen.

… “I pray but I am lost, am I just praying to silence?

★★★★★

Imdb – 7.5/10  Rotten Tomatoes – 84%

 

Jackie (2016)

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The assassination of John F. Kennedy, a moment that shook America and the rest of the world, but a moment that destroyed the first lady. This is a portrait of Jackie Kennedy, a beautiful illustration of a stunned, stricken existence enveloped in a mesmerising tragedy. Jackie portrays a stunning moment by moment story of the aftermath of horror, amplified by lonely silence, long corridors, conspiratorial whispers, haunting close ups and memories of a once happy life.

Pablo Larrain takes one piece of slimmer of history to create art on screen – the before, during and after of President John F. Kennedy’s assassination, but most sensationally through the eyes of his beloved wife Jackie. Painted on a canvas of Mica Levi’s mesmerising orchestral score, the haunting strings weave seamless sadness and horror into a heartbreaking performance from Natalie Portman. On the screen explodes a fierce and powerful woman, who unlike many others, must stay composed in the waking hours of her husband’s death. A moving psychological portrait of Jackie, who fearlessly attempts to maintain her husband’s legacy and his fabricated world of Camelot.

Natalie Portman’s performance is careful and intelligent, and thick with anxiety hidden under layers of poise and grace. The Monroe breathiness of her voice and the heartbreaking dialogue of her painted lips exposes the precise and unfathomable truth behind Jackie’s moments in hell, torn between living and dying in the aftermath of her heartbreak.

“There comes a time in man’s search for meaning when he realises that there are no answers. And when you come to the horrible and unavoidable realization, you accept it or you kill yourself. Or you simply stop searching.”

Natalie Portman almost effortlessly carries Jackie, in an intimate and personal piece that should be considered more as a portrait than as a film. With her recent nomination for Best Actress in the Academy Awards, it is no wonder Portman was the first choice for taking on a role so demanding and so intimately powerful – I doubt anyone could bring so much life to Jacqueline Kennedy. Pablo Larrain’s most daring and most profound piece, a historical monument to the life of a woman who’s actions will echo in history’s books.

I will march with Jack, alone if necessary.

★★★★☆

Imdb – 7.1/10  Rotten Tomatoes – 89%

Live by Night (2016)

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Ben Affleck has proven time and time again that he is an outstanding director, fuelled by an entirely impressive expertise of filmmaking from his very first Gone, Baby Gone to his more recent and highly successful Argo. But with the release of Live By Night this weekend, Affleck turns a corner with his very own adapted screenplay from Dennis Lehane’s amiable gangster novel sensation.

Ben Affleck, as lead Joe Coughlin, returns disenfranchised from World War I, haunted by the arbitrary violence and barbarism that painted his life. Filled with refractory hatred towards those in power, Coughlin becomes an outlaw on the streets of Boston, living by night in search of the next bank to rob or gamble to gain in the era of Prohibition and underground distilleries, speakeasies and gangsters. It’s not long before Coughlin is drawn into the gang war of Irish Albert White and Italian Maso Pescatore, and not much longer again before Joe ends up in their employ, working in Florida to raise Prohibition, build casinos and gain revenge.

As with all other prominent films that Affleck has directed, he passes the juiciest roles to his outstanding co-stars, with Sienna Miller as the knockout mistress of Irish mob boss Robert Glenister and Zoe Saldana as the Cuban love interest on the Florida bootlegging operation. Here is where you might get confused, because you can also throw in Chris Cooper as the God-fearing local sheriff, Elle Fanning as the good girl turned prostitute, Matthew Maher as the leader of the KKK and another handful of religious conversion and zealotry to boot. It makes more sense when you watch it yourself, from start to finish. But as a lead himself, Affleck maintains his square-jawed Batman, an observer in his own life rather than a participator, a concept built into the fabric of Lehane’s novel.

What you put into the world will always come back for you.” Simply put, this quote perfectly sums up my take on Live by Night, as more than just merely a gangster movie, but as a whole take on human life and the value of luck and fate for those who take it.

Live by Night is a beautiful film of exceptional cinematography and outstanding filmmaking, and Affleck really shines as a director of brilliant actors and vying action. Affleck knows too well how to create a haunting gangster noir worth getting lost in.

★★★☆☆

Imdb – 6.7/10  Rotten Tomatoes – 32%

A United Kingdom (2016)

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The captivating true-life romance that drew an English office clerk and the future King of Botswana into a future of rippling prosperity and incredible global influence. In a world of common interracial relationships, British filmmaker Amma Asante illustrates the remarkable history of two individuals who forged a difficult path to acceptance, love and unshaken equality for all.

A United Kingdom evolves from the very moment a simple insurance clerk, played by Rosamund Pike, and a nice African chap, David Oyelowo (who also happens to be the heir of the throne to Bechuanaland) meet at a London Missionary Society Dance. Following a secret year-long courtship, the couple marry in 1948, triggering an immediate and highly severe diplomatic fallout between Bechuanaland, London and South Africa. What unfolds is a long and treacherous battle for equality, for peace and for justice in a place where white women are buffeted and prodded.

One day things have to change and it has to start somewhere.

The film’s appeal undoubtedly lies in watching Ruth and Seretse together, while every force around them conspires to tear them apart. Pike and Oyelowo’s chemistry is truly sincere, elegant and awe-inspiring, remaining composed and full of strength in pressure that would destroy anything but wholehearted love and commitment. Oyelowo also brings to his role a stillness and poise reflective of Martin Luther King, in which his reticence and influence blossoms. This deep romance and commitment, painted on a backdrop of horror and destruction, draws out the very best in humanity’s ability to conquer all.

I think that A United Kingdom’s greatest strength in fact lies in its ability to showcase that love can conquer all, even in times of incredible heartache. Without the persistence to create change in a seemingly imperfect world, nothing worthwhile would ever come about.

I want to make pieces of entertainment and art that mean something,” director Amma Asante recently told the BBC, “I want to make movies that leave some kind of mark on you.” But A United Kingdom does more than just simply leave a mark, with its nicely paced and intelligent depiction of a story almost too good to be true. A chapter of heartstring jerking history that deserves a close reading.

★★★★★

Imdb – 6.7/10  Rotten Tomatoes – 89%

Allied (2016)

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Right up to the most recent cinematic illustration of war, in the breathtaking Hacksaw Ridge, WWII films have gone to great lengths to stress the horror of war and its consequently intense physical and psychological dismay. In Allied, Robert Zemeckis takes a sharp turn toward Hollywood war films of the 1950’s – mixing together action, politics, drama, humour and romance to portray a world of heartbreak on a sparkling canvas.

As the film opens in 1942, Canadian intelligence officer Max Vatan gracefully parachutes into North Africa, and the very heart of Casablanca. Paired with a mission to assassinate the German Ambassador, the wildly passionate French Resistance Fighter Marianne Beausejour appears as his partner in crime. Under threat from local Nazi bigwigs, they establish themselves as a loving married couple, to avoid arousing any local suspicion. Over the course of the following days, the make-believe marriage blossoms into an unprecedented attraction, setting the stage for intriguing love scenes and a spectacular escape. But the story really picks up when his now real wife Marianne is accused to be a German spy, and settling accusations against execution becomes Vatan’s most prominent battle yet.

Allied carries bold influences of its predecessors with impeccable style and remarkable cinematography. Written by Robert Zemeckis and Steven Knight, whose previous credits attain to romance-fuelled drama thrillers, Allied generates excitement with little attention to anything but the characters at the heart of the film. Over the years, Zemeckis has elicited some of the greatest film performances, not to mention Bob Hoskins in Who Framed Roger Rabbit, Denzel Washington in Flight and Tom Hanks in Forrest Gump. But Allied unfolds with characters who shine effortlessly throughout the film. In his third war appearance following Inglorious Bastards and Fury, Brad Pitt brings debonair and dignity to his seamless romance with dazzling Marianne Cotillard. Pitt and Cotillard bring such depth to their characterisation we become utterly enraptured with their identity and intentions as the story unfolds. (Cue sobs during credits)

Allied, for me, was a film that clicked in a precise and effective manner. Not to mention Alan Silvestri’s contribution of top notch compositions, that wove together scenes almost magically – and of course Joanna Johnston’s costume design, that delivered effortless style and charm. All in all, a homage to Hollywood war films that graced the screen long before my time, and a beautiful story of romance on the backdrop of war and destruction. Allied is a breath of fresh air.

★★★★☆

Imdb – 7.2/10  Rotten Tomatoes – 61%

The Arrival (2016)

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Take it from me, watching the trailer for The Arrival over and over in the cinemas these last few months has driven me further and further away from this freaky sci-fi drama, but Denis Villeneuve’s surprisingly audacious new film skirts the very edge of absurdity and humanity. I’m always agnostic about sci-fi ‘disappointments’, such as Christopher Nolan’s Interstellar or Jeff Nichols’ Midnight Special, but The Arrival is a mature and thoughtful piece that uses first-contact premise as not merely a set up for a doomsday epic, but as a platform for a powerful and nuanced exploration of love, relationships and the human condition.

As twelve mysterious spacecrafts land in varying locations across the globe, we see college students’ phones explode with the breaking news. Humanity’s reaction is the very core of this film, as priorities methodically unfold before the ships – or shells – are finally revealed. Here the tone is set for a desperate hunt for survival. Amy Adams is Dr Louise Banks, a professor of comparative linguistics, and naturally the first point of contact when a bunch of military guys need help translating the language of these aliens. But as the film unfolds, the question of ‘Why are you here?’ greatly pends, as humanity fights against itself to preserve what remains of its peaceful existence.

Denis Villeneuve’s approach to The Arrival builds on a rich body of work, with films such as Prisoners and Sicario absorbing a remarkable world of symmetrical compositions and patient camera moves. But in addition to superb screen composition, The Arrival’s extraordinary success draws from its ability to resonate emotionally on an almost incomprehensible level. As the drama unfolds, you’ll be biting your fingernails in anticipation. This combination of human interaction, bravura style and grand science-fiction depth looks at the vulnerability and sacrifice of humanity to transcend the genre of sci-fi altogether. I guarantee that it will leave you speechless.

An intelligent and wildly gripping film, The Arrival dazzles from beginning to end, causing us to re-evaluate the world around us in the very fabric of humanity. It is simply art, at a time when so many seem intent on walling on themselves or their country – its exactly what we need.

★★★★☆

Imdb – 8.3/10 Rotten Tomatoes – 93%

The Founder (2016)

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If you worked at McDonald’s at the ripe old age of fourteen years old, keen for cash that wasn’t gifted at the whims of your parents’ generosity, then you’ll be familiar with the phrase; “If you have time to lean, you have time to clean.” Decades after McDonald’s ‘founder’ Ray Kroc coined this saying, the motto remains ingrained in employees across over 35,000 outlets all over the world. This phrase perfectly encapsulates the mid-western work ethic of Ray Kroc, a go-getter salesman with big ambitions and an undying persistence for success.

When we meet Ray Kroc in the 1950’s, he’s a middle-aged, reasonably well-fixed salesman on a desperate hunt for a gimmick that will earn him his fortune. The McDonald brothers, Mac and Dick, appear to have exactly what he is looking for – a successful hamburger joint run by hard working visionaries. Overwhelmed with anticipation for what this small San Bernardino restaurant could become, Kroc talks his way into franchising and expanding into every town in America. The story of a vision that grew under the noses of its creators.

With the undeniably ubiquitous presence of McDonald’s in most people’s lives – from kids birthday parties to the 3am drive through – the story behing the Golden Arches is one we can all easily invest in. But what really drives The Founder is Keaton’s magnetic and dynamic performance as the underlying unequivocal villain, coated with layers of charm, insecurity and grit. Here Hancock tries to enforce the understanding of why Kroc did what he did, almost humanising the ruthless tale of business intrigue.

I am fascinated the follow the response to The Founder, particularly in America. Is it possible that despite everything, Ray will be viewed as a hero, an underdog with persistence that enabled him to push through every setback in his path to create an empire? But his triumph was always inevitable against the McDonalds brothers. To the movie’s credit, Kroc has an opinion about this too.

All in all, The Founder presents a version of the American Dream in which the need to succeed obliterates any other considerations; in a story of strong minded determination, a small downtrodden businessman gains his revenge on the world.

★★★★☆