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Life

Director: Anton Corbijn

Cast: Dane DeHaan, Robert Pattinson, Joel Edgerton, Stella Schnabel, Alessandra Mastronardi, Ben Kingsley, Peter Lucas

Like Simon Curtis’ s film My Week With Marilyn, director Anton Corbijn’s handsomely made film Life offers a glimpse into a slice of iconic screen legend James Dean’s life, a couple of months before his untimely death on the 30^th September 1955 as seen through the lens of acclaimed photographer Dennis Stock.

Corbijn’s films including The American and A Most Wanted Man are considerably measured in approach and give the actors a chance to inhabit their characters on screen. The casting of Dane DeHaan (The Devil’s Knot, Lawless) as the reluctant star James Dean and Robert Pattinson (Cosmopolis, Twilight) as the struggling photojournalist Stock who sees in Dean a potential symbol for the rising counter-culture in the American society exemplified in the Beat Generation especially writers like Jack Kerouac and Allen Ginsberg who become infamous in the latter years of the 1950’s.

DeHaan who also starred as Lucien Carr in Kill Your Darlings, which also focused on this particular era is beautifully cast as the selfish, enigmatic and moody James Dean who is literally on the cusp of fame.

Life, which takes place in 1955, as Dean has just starred in Nicholas Ray’s film East of Eden and is on the brink of getting the part in Rebel Without a Cause.

DeHaan intensely inhabits the role of James Dean and Pattinson is brilliant as the struggling photographer Stock who on a whim decides to follow his itinerant subject from Los Angeles to New York and then to his home town of Marion, Indiana.

Its James Dean’s encounter with Jack Warner of Warner Brothers where he first realizes that he is a pawn in the powerful studio system. Warner is played with panache and brutality by Oscar Winner Ben Kingsley (Gandhi, Sexy Beast) who even says to Dean “You belong to me now.”

DeHaan superbly shows James Dean’s reluctance at being controlled as he mysteriously leaves New York to visit his relations in Indiana, not before Stock poignantly manages to capture that iconic black and white image of James Dean, wearing a trench coat, strolling nonchalantly through Times Square New York in the rain, smoking a cigarette.

Whilst the script of Life is by no means as witty as My Week with Marilyn, causing the narrative to meander considerably in the middle act of the film, it does offer viewers a glimpse at an enigmatic superstar who after three films become such a Hollywood icon just as his life was cut short in a fatal car crash: Life of James Dean.

Ironically Dennis Stock’s images of James Dean were immortalized much like the star he was photographing. Audiences should look out for cameo appearances by director Julian Schnabel’s daughter Stella Schnabel as Norma and Italian actress Alessandra Mastronardi as Dean’s initial love interest, actress Pier Angeli along with Joel Edgerton as John Morris.

What is clearly emphasized in Life, was James Dean’s ambition to be an actor which he was passionate about without wanting to participate in his film’s publicity, premieres and red carpet obligations that he would notoriously shy away from.

Watching Life in a 21^st century, celebrity obsessed context, James Dean would never have survived had he been born half a century later, despite his immense talent and gorgeous baby-faced good looks. Life is a fascinating portrait of two men, of subject and photographer, who both at some point realize that their unique friendship would be fleeting, yet have a lasting impact on the public perception of what constitutes a screen icon.

Recommended viewing for those that enjoy languid biopics without the wit or profound resonance often associated with films about hugely famous people. By no means a masterpiece, Life is certainly fascinating viewing and affords a moody opportunity to see DeHaan and Pattinson onscreen together.

Mr Holmes

Director: Bill Condon

Cast: Ian McKellan, Laura Linney, Milo Parker, Frances de la Tour, Hiroyuki Sanada, Patrick Kennedy, Roger Allam, Patrick Kennedy, Hattie Morahan, Hermione Corfield, Frances Barber

Director Bill Condon’s work has included such Oscar winners as Dreamgirls, Kinsey and Gods & Monsters. His nuanced and subtle cinematic adaptation of Mitch Cullin’s novel A Slight Trick of the Mind featuring Oscar nominee Sir Ian McKellan as the elderly and doddery Mr Holmes is a pleasure to watch if audiences can get through the first half an hour.

McKellan (Gods and Monsters, The Da Vinci Code, Richard III) is brilliant as the aging Mr Holmes who has to grapple not only with old age but all the ghosts of his pasts, primarily two unsolved cases, one involving a Japanese man whose father mysteriously never returned from England during World War II and another involving a husband trying to discover what his wife is involved in.

It is refreshing to see Sir Ian McKellan return to some a more resonant subject in this role, which is ever so complex, fascinating and beautifully told after a decade acting in The Lord of the Rings trilogy and also The X-Men franchise.

Director Bill Condon, with a stroke of genius, casts Oscar nominee Laura Linney (Kinsey, The Fifth Estate) as the long suffering house keeper Mrs Munro, whose husband was abruptly killed in the Second World War and has only her young son Roger, wonderfully played by Milo Parker to keep her company. As the mother and son look after the aging and infamous Baker Street detective, Mr Holmes must search his ever failing memory to reignite the images of what made these two cases so extraordinary.

In a series of multiple flashbacks, including an entire sequence set in Japan, Hiroshima to be specific just after the atomic bomb has obliterated the city, Mr Holmes visits Tamiki Umezaki gracefully played by Hiroyuki Sanada last seen in the excellent war film, The Railway Man, who continually questions Mr Holmes about the mysterious disappearance of his father in England during the War and the possible reasons for abandoning his young son and wife back in Japan.

In the second more intricate case, the great detective whose cases have been studiously reproduced in literature and on film, a husband approaches him to find out what his wife is really up to. British actor Patrick Kennedy (Atonement) and Hattie Morahan (The Golden Compass) play the estranged Thomas and Anne Kelmot.

It is really the scenes between Laura Linney and Ian McKellan which are priceless as Mrs Munro soon realizes that her son has become attached to the eccentric Mr Holmes and insists on helping him keep an apiary at their home in the Southern coast of England.

Cinematically, Mr Holmes is not everyone’s cup of tea, but is a delicate character study of a famous man who is in the twilight of his years, whilst none of his eccentricities have been lost, despite his self-imposed exile. Recommended viewing for those that enjoyed Hyde Park on Hudson and lesser known films by Merchant Ivory such as Jefferson in Paris or The Golden Bowl.

The Martian

Director: Ridley Scott

Cast: Matt Damon, Jessica Chastain, Kate Mara, Sebastian Stan, Chiwetel Ejiofor, Jeff Daniels, Sean Bean, Kristen Wiig, Michael Pena, Donald Glover

Oscar winner Matt Damon (Good Will Hunting) takes the lead role in director Ridley Scott’s visually stunning adaptation of the Andy Weir novel, The Martian as he stars as Mark Watney, an astronaut who after a sandstorm on Mars gets stranded on the red planet by his fellow crew members who abandon him unknowingly to head back to earth.

The crew members include Captain Melissa Lewis played by Oscar nominee Jessica Chastain (Zero Dark Thirty), Beth Johanssen played by Kate Mara, Chris Beck played by Sebastian Stan (Captain America: The Winter Soldier), Rick Martinez played by Michael Pena (Antman, American Hustle) and Norwegian actor Aksel Hennie (Hercules) as Alex Vogel.

Meanwhile back at the Johnson Space Centre in Houston, Texas, NASA headquarters, Director Teddy Sanders played by Jeff Daniels channeling his role in Aaron Sorkin’s TV Series, The Newsroom, announces that Watney is dead. Back on Mars, Watney is alive and has to figure out a way to survive on a planet with minimal oxygen and no sustainable ecosystem to grow his own food supply, an obvious metaphor for the dwindling food supply on planet Earth. Watch out for a superb supporting role by Oscar nominee Chiwetel Ejiofor (12 Years a Slave) as Vincent Kapoor who firmly believes in finding Watney and bring him back to Earth.

Luckily Watkins is a trained botanist so with ingenuity and a lot of dry humour, he manages to harvest a small crop of potatoes inside the Mars man-made habitat. This is where Damon really inhabits the role of a lone space colonizer, the only man left on Mars who has to survive and adapt to his hostile and surreal environment, ironically while listening to 70’s disco music. Best line in the film is:

“Neil Armstrong, eat your heart out!”

As the team at NASA scramble to figure out a way to rescue Watney after receiving an encrypted message from him letting them know he is still alive, Watney has to use all his own resources to remain resilient until a rescue mission, however precarious is assembled. Whilst the astrophysics of the rescue mission, will go over the head of most viewers, what makes The Martian such an enlightening cinematic experience are the stunning almost ethereal visual effects, held together by an Oscar worthy performance by Matt Damon as he contemplates that he could perish on this desolate and largely uninhabitable planet, if the rescue mission fails.

The rest of the cast are largely viewed in supporting roles, including Chastain as the steely Captain of the Hermes space craft, they support Damon’s character both psychologically, emotionally and spiritually as Watney gradually learns that back on Earth he is becoming a symbol of a lone survivor who if he manages to return home safely will definitely have a legendary tale to tell.

With breathtaking cinematography by Dariusz Wolski and production design by Arthur Max, The Martian is definitely in the same league as Alphonso Cuaron’s 2013 Oscar winner Gravity and humanizes space travel without delving to deeply into the philosophical elements of the infinite universe as done in Stanley Kubrick’s 2001: A Space Odyssey or more recently Christopher Nolan’s visually compelling but laden Interstellar which oddly enough also featured Jessica Chastain and Matt Damon.

With a running time of 141 minutes, The Martian is a superbly told adventure story about one man’s fight to survive and his resilient desire to return to Earth, brilliantly acted by Matt Damon and beautifully directed by Oscar nominee Ridley Scott (Alien, Prometheus, Blade Runner, Gladiator).

Highly recommended viewing especially in a cinema. Do not wait for The Martian to come on TV as the visual and sound effects will certainly be lost.

The Intern

Director: Nancy Meyers

Cast: Robert de Niro, Anne Hathaway, Rene Russo, Nat Wolff, Adam DeVine, Celia Weston, Anders Holm, Andrew Rannells, Zack Pearlman

American director and screenwriter Nancy Meyers has always been brilliant at churning a reasonable collection of romantic comedies touching quite often on the social nuances of contemporary American culture. The director of What Women Want and Something’s Gotta Give, now teams up two Oscar winners the legendary Robert de Niro (Raging Bull, Silver Linings Playbook) with Anne Hathaway (Les Miserables, The Devil Wears Prada) in a wonderful romantic comedy The Intern focusing on a widower Ben Whitaker who finds after his wife’s death has far too much time on his hands.

Whitaker, fastidious, presentable and dependable, expressively played by de Niro applies for a position as an intern at an online fashion site, which is young chic start-up which basically sells and delivers new clothing bought on the internet much like the South African versions Zando and Spree.

The start-up aptly named About the Fit is managed and owned by the driven entrepreneur Jules Ostin played by Hathaway who at first channels too much of her character from The Devil Wears Prada, but then finds her own form for the successful working mother with a stay at home husband, Matt, played by Anders Holm.

Initially, the internship program is designed to give senior citizens a chance to work in the digital era and exposure to the 21^st century work environment, which Meyers accurately draws some brilliant observations between the baby boom (born during or after World War 2) generation and the millennial generation (born in the 1990’s), a divide made all the more problematic with the fast acceleration of digital and online technologies. The fact that Whitaker spent most of his career printing New York telephone directories and one of the naive receptionists asks if they still make phone books, is testament to this generation gap.

The narrative of The Intern takes on some more serious issues in the second half of the film, after a rather languid beginning punctuated only by some jokes and a caper involving stealing a laptop. The film is brilliantly enlightened by the accessible Rene Russo (Nightcrawler, Thor) as the company masseur Fiona in a wonderful scene where she massages Whitaker at his desk, much to the delight of the twenty year olds sitting on either side of him.

As the film progresses, director Nancy Meyers gives more scope for her two main leads to show some real acting talent even though the script at times is slightly saccharine. De Niro’s character Whitaker really is used as a vehicle, both literally (he becomes Jules’s driver) and figuratively as a means of Jules realizing that her career is not as important as her marriage and that sometimes its wisdom not business acumen that can help save a company which is threatening to become too successful too soon. A pitfall of many start up tech companies especially in the increasingly attention demanding digital age.

The Intern is recommended viewing for those that enjoy romantic comedies with a bit more depth, reasonably well written and soothingly directed by Meyers. This is a great, feel good comedy without resorting to crude language or stupid antics.

THE  58TH BAFTA AWARDS /

THE BRITISH ACADEMY FILM AWARDS

Took place on Sunday 12th February 2005 in London

BAFTA WINNERS IN THE FILM CATEGORY:

Best Film: The Aviator

Best Director: Mike Leigh – Vera Drake

Best Actor: Jamie Foxx – Ray

Best Actress: Imelda Staunton – Vera Drake

Best Supporting Actor: Clive Owen – Closer

Best Supporting Actress: Cate Blanchett – The Aviator

Best British Film: My Summer of Love directed Pawel Pawlikowski

Best Original Screenplay: Charlie Kaufman – Eternal Sunshine of the Spotless Mind

Best Adapted Screenplay: Sideways by Alexander Payne and Jim Taylor

Best Costume Design: Vera Drake

Best Foreign Language Film: The Motorcycle Diaries directed by Walter Salles

http://en.wikipedia.org/wiki/58th_British_Academy_Film_Awards

THE  57TH BAFTA AWARDS /

THE BRITISH ACADEMY FILM AWARDS

Took place on Sunday 15th February 2004 in London

BAFTA WINNERS IN THE FILM CATEGORY:

Best Film:  The Lord of the Rings: The Return of the King

Best Director: Peter Weir – Master and Commander: The Far Side of the World

Best Actor: Bill Murray – Lost in Translation

Best Actress: Scarlett Johansson – Lost in Translation

Best Supporting Actor: Bill Nighy – Love Actually

Best Supporting Actress: Renée Zellweger – Cold Mountain

Best British Film: Touching the Void

Best Original Screenplay: The Station Agent – Thomas McCarthy

Best Adapted Screenplay: The Lord of the Rings: The Return of the King – Philippa Boyens, Peter Jackson, and Fran Walsh

Best Visual Effects: The Lord of the Rings: The Return of the King

Best Foreign Language Film: In This World directed by Michael Winterbottom

57th BAFTA Awards

THE  56TH BAFTA AWARDS /

THE BRITISH ACADEMY FILM AWARDS

Took place on the 23rd February 2003 in London

BAFTA WINNERS IN THE FILM CATEGORY:

Best Film: The Pianist

Best Director: Roman Polanski – The Pianist

Best Actor: Daniel Day-Lewis – Gangs of New York

Best Actress: Nicole Kidman – The Hours

Best Supporting Actor: Christopher Walken –Catch Me If You Can

Best Supporting Actress: Catherine Zeta-Jones – Chicago

Best British Film: The Warrior directed by Asif Kapadia

Best Original Screenplay: Talk to Her (Hable con ella) – Pedro Almodóvar

Best Adapted Screenplay: Adaptation. – Charlie and Donald Kaufman

Best Visual Effects: The Lord of the Rings: The Two Towers

Best Foreign Language Film: Talk to Her (Hable con ella) directed by Pedro Almodóvar (Spain)

56th BAFTA Awards

THE  55TH BAFTA AWARDS /

THE BRITISH ACADEMY FILM AWARDS

Took place on the 24th February 2002 in London

BAFTA WINNERS IN THE FILM CATEGORY:

Best Film: The Lord of the Ring: The Fellowship of the Ring

Best Director: Peter Jackson – The Lord of the Ring: The Fellowship of the Ring

Best Actor: Russell Crowe – A Beautiful Mind

Best Actress: Judi Dench – Iris

Best Supporting Actor: Jim Broadbent – Moulin Rouge

Best Supporting Actress: Jennifer Connelly – A Beautiful Mind

Best British Film: Gosforth Park

Best Original Screenplay: Amélie (Le fabuleux destin d’Amélie Poulain) – Jean-Pierre Jeunet and Guillaume Laurant

Best Adapted Screenplay: Shrek

Best Visual Effects: The Lord of the Ring: The Fellowship of the Ring

Best Foreign Language Film: Love’s a Bitch (Amores perros)  directed by Alejandro González Iñárritu (Mexico)

2015 Toronto International

Film Festival Winners

Toronto International Film Festival (TIFF) takes place every year in September in Toronto, Canada.

Films which premiere at Toronto are often nominated for Academy Awards the following year.

TIFF does not hand out individual prizes for Best Actor or Actress but focuses on amongst others the following awards:
People’s Choice Award & Best Canadian Feature Film

Opening Night Film: Demotion directed by Jean-Marc Vallee and starring Jake Gyllenhaal, Naomi Watts and Chris Cooper

People’s Choice Award: Room directed by Lenny Abrahamson starring Brie Larson, Joan Allen, William H. Macy and Jacob Tremblay

Best Canadian Feature Film: Closet Monster directed by Stephen Dunn starring Connor Jessup, Isabella Rosselini, Joanne Kelly and Aaron Abrahams

Source: 2015 Toronto Film Festival

We Are Your Friends

Director: Max Joseph

Cast: Zac Efron, Wes Bentley, Shiloh Fernandez, Jonny Weston, Jon Bernthal, Emily Ratajkowski, Alex Shaffer

Taking place during a steaming summer in the San Fernando Valley, Los Angeles, documentary filmmaker turned feature director Max Joseph’s fantastic trance film We are your Friends starring Zac Efron (The Paperboy, That Awkward Moment) as Cole an aspiring DJ who along with his friends are struggling to make ends meet, while attempting to make that one track which all DJ’s become famous for.

Soon Cole falls under the influence of the much older and debauched DJ, James wonderfully played by Wes Bentley (American Beauty, Interstellar) who introduces him to a more affluent crowd of party goers. James’ assistant is Sophie played by new actress Emily Ratajkowski last seen in Entourage who naturally becomes attracted to the much cooler Cole.

Yet its Cole’s group of San Fernando buddies which he ultimately falls back on including Ollie played by the gorgeous Shiloh Fernandez (Red Riding Hood, White Bird in a Blizzard) along with the hot-headed Mason played by Jonny Weston (Taken 3, Chasing Mavericks) and the youngest member Squirrel played by Alex Shaffer, which make up his brat pack.

Hence this foursome form the rather inane title of the film We are your Friends. Look out for a supporting role by Jon Bernthal (Fury, The Wolf of Wall Street) as a morally dubious property tycoon Paige who takes advantage of poor people’s homes moments before foreclosure.

The crux of the narrative is the predictable yet destructible love triangle which forms between Efron, Bentley and the pouty yet clear-headed Ratajkowski as the action moves from L.A. to Vegas.

We are your Friends is like watching a film during a Trance Party, and as the music is so brilliant and while director Joseph’s stylised direction can be forgiven, it is a wonderful and energetic film to watch clearly aiming at the millennial generation, almost giving the viewers a sense of constantly being in a nightclub.

The stylization both works for and against the film, and is particularly effective during a frenetic scene when James takes the impressionable Cole to an upmarket art exhibition while both tripping on PCP or Angel’s Dust and suddenly the pop art on the walls take on an animated form.

Behind all the debauchery, there is also a flimsy moral lesson which each character has to learn and this gives the film some deeper resonance. In the end, Cole does find that one track that will secure him an impressive debut at the annual Summer Fest, but it’s not sounds generated from his laptop, but rather a more organic experiential track.

We are your Friends is a remarkably interesting film about the art of being a successful DJ and the sacrifices that go with it, within a completely hedonistic environment filled with parties, nightclubs and music festivals. This party film packs a punch reminiscent of the Brett Easton Ellis inspired film, Less Than Zero starring Robert Downey Jr in one of his first major roles.

We are your Friends will be sure to find a cult audience amongst those born in the 1990’s, with an electrifying performance by the smouldering Zac Efron, who continually lights up the screen with his boyish grin and beautiful blue eyes.