LFF 2013 - The Congress

After witnessing a rather unsatisfying taste of Robin Wright in Adore, my confidence levels for The Congress were actually pretty high before heading into see the film. With a promising trailer that unveiled an intriguing mix of real-life and animation, coupled with a rather fantastic cast, this was a film that ticked plenty of boxes, but ultimately it does lose its appeal as the duration goes on.

Based on the novel The Futurological Congress by Stanislaw Lem, Ari Folman's The Congress sees actress Robin Wright coming towards the end of her career as an actress. No longer wanted for big starring roles and accused of making the wrong choices throughout most of her acting career, Wright is almost forced into a deal with film company Miramount, meaning her physical acting days will be over.

Despite this, the company will be digitising her image and using it for films in many years to come, with her reaping the rewards, despite not actually physically playing the parts herself. 20 years pass and Wright's contract is up, meaning she has to attend a congress that is taking place in a vibrant and magical animated world. Upon arrival, things aren't quite what she expects and her whole life is turned upside down.

The Congress is very much a film that could be split into two in one way or another. With the first half focusing on the real world in which Wright, her family and her agent (Harvey Keitel) live, the second is a journey through the resplendent and stunning animated world which is ever-evolving. On paper, it certainly paints a lovely picture and, if anything, the idea of being immersed into a magical animated world is the most appealing of the two. Unfortunately, The Congress flips the rule book and is instead more favourable when in the real world.

It is in the real world that we can actually fully relate to the characters so important to the story itself. Robin Wright's now vulnerable and struggling actress is at her best when conveying the emotions that come with the changing film environment and her agent in Harvey Keitel does a splendid job in producing a meaningful and convincing agent out for the best for both him and his client. Also Danny Huston's forceful and domineering movie executive is a great cast member, his authoritarian side really bringing some punch to the story unfolding and introducing some strong views of the inside of Hollywood studios.

This aspect is relatable, it's strong and most of all, pinpoints the whole thesis of the story we are watching unfold. In between Robin's acting fate is also a hugely significant sub-plot in her son Aaron (Kodi Smit-McPhee) and his slowly declining health state, adding that extra element of emotion. Then the film delves into animation and loses it touch.

Despite utter beauty in its wonderful creative world, The Congress soon finds itself meandering in a story that loses its way and becomes all too overwhelming. The additional voice casting of Jon Hamm and some brilliant visual representations of famous persons alive and deceased (including a white-teethed Tom Cruise) are indeed the pick of the bunch in this section of the film, but these are a mere distraction from many a moment of confusion.

Beginning as a promising emotional ride with plenty of engaging characters, The Congress descends into a discombobulated animated pallet with a story lost like its main protagonist. One half real-life brilliance, the other a beautiful wreck, this is a mixed bag from director Ari Folman and doesn't quite live up to expectations like it really should.

LFF 2013 - Captain Phillips

Nowadays, the most striking of news stories that break are likely to receive a film treatment, eventually - 9/11 has seen its film portrayals and war epics have always been a big part of the industry. The latest real-life story to be portrayed on the big screen is of a captain who saw his life on the line after Somali pirates took over his ship. Paul Greengrass’ Captain Phillips is a simply ground-breaking and affecting picture to say the very least.

Captain Rich Phillips (Tom Hanks) is once again setting out for another voyage in charge of a cargo ship, heading out around the coast of Somalia. As he discusses with his wife (Catherine Keener), each voyage never gets easier, and this is one particular voyage that he will never forget.

As Phillips and his crew set out to deliver their cargo of food and supplies, the captain remains meticulous in his planning and organisation. Wary of previous pirate threats as they journey towards the Somali waters, he urges his crew to remain focused as they put into motion a drill to ensure everything is under control should an incident occur.

During the drill, a group of pirates look to infiltrate the ship and use hostages to gain much required supplies and money for their own means. Initially failing, the pirates, led by the skinny yet resolute Muse (Barkhad Abdi), board the ship and take Captain Phillips as hostage. With the crew hiding in the bowels of the ship, it is up to Phillips to risk his life and manage the situation before help hopefully arrives.

Paul Greengrass is no stranger to delivering truly authentic drama to the big screen and Captain Phillips is no different. Tackling a stunning real-life story, Greengrass orchestrates his film with  a pinpoint breathlessness from the off, first gently easing us in with short character studies of both our main protagonists, both innocent and guilty. Once he beds us in with our specific individuals involved, he then cranks it up a notch as we are fully embedded into a wonderfully tense spectacle, proving his might behind the camera yet again.

Gasps aplenty and nail-biting tension remain the order of the day once the ship is taken over, with Hanks running the show with an exceptional performance of raw emotion, grit and determination. The actor is still one of the best in the business and this shows in his physical and emotion role, in which his every scene is filled with acting prowess and defined quality.

The film is also bolstered in its villains of the piece in the way of Barkhad Abdi and Faysal Ahmed. Abdi’s Muse is certainly one to look out for, his character’s stature rather petite but his evil streak hugely affecting. From the very moment he declares himself captain, Abdi hammers home his portrayal with a menacing and unhinged individual who will stop at nothing to prove his worth.
Backed by a powerful score and some immensely striking cinematography and imagery, Greengrass excels in grabbing the audience by the scruff of the neck and dropping them into the full chaos and fear of the scenario. Possessing superb actors in his arsenal, the director pairs this with a fluid style of filmmaking and plenty of pulse-pounding instances, solidifying Captain Phillips’ status as an Oscar contender.

Imagine all the best elements from last year’s stellar entries Zero Dark Thirty and Argo, throw in an unbelievable Oscar-worthy performance from Tom Hanks, and finish off with a profoundly moving ending, and Captain Phillips strikes a chord, making it one of the best films of the year. Gripping, ground-breaking and heart-wrenching stuff.

LFF 2013 - The Bounceback

You won't go far in the comedy genre without realising that the fundamentals of relationships are key to the proceedings and drive the narrative towards its resulting laughs and eventual conclusion. One particular film that burrows deep into relationships at this year's London Film Festival is The Bounceback, as we tackle the lives of four close friends all experiencing troubles in their own love lives.

Cathy (Ashley Bell) and Stan (Michael Stahl-David) were once a happy couple living together and enjoying every moment with one another. The same could be said for Jeff (Zach Cregger) and Kara (Sara Paxton), but things have changed and now the two couples are no longer in their pairings, instead tip-toeing around with their friends and avoiding their dreaded exes.

That is until Cathy heads to Texas to visit Kara, and Jeff decides to brave a reunion with her via a convenient same-timed visit to his best friend Jeff. With the four all in the same state together and their determination to avoid one another slowly coming to a peak, it is only a matter of time before they will have to address the issues at hand and come to some resolution.

The Bounceback is one of those comedies that is warm, funny and provides a decent 90 minutes entertaining without becoming too strenuous or tedious. The main reason for this is in its foursome running the show from the very off; two very different pairs that work extremely well as a dynamic. On one side, the more reserved and softer individuals in Ashley Bell's Cathy and Michael Stahl-David's Stan, while the other pairing of Zach Cregger's Jeff and Sara Paxton's Kara are brilliantly wild, crazy and unpredictable.

These are four friends who are simply connectable in every single way; their relationship troubles something that many of us will relate to, and the instance of new people coming into their lives also very true to life in the way it is presented. While the couple of Bell and Stahl-David are particularly focused on as the main protagonists, it is in fact our 'side' couple that have the best moments.

While Jeff's obsession and desire to win at the air sex championships may seem a little odd and unsettling, his whole persona and one-liners are at the core of what makes The Bounceback as funny as it is. That and the brilliance of Sara Paxton, whose self-confessed slutty Kara is a great character for the brilliant actress to let her hair down. With various colours in her hair and a willingness to cause mayhem, Kara is everything a rebellious woman is about and her putdowns and actions represent hilarity in the picture.

Director Bryan Poyser has obviously drawn from real-life situations for the film as it feels refreshingly realistic in its approach with not only the characters but also particular scenarios. Whether it be a text exchange between Stan and new girl Haley (Addison Timlin) or a 'bros before hoes’ argument rumbling among friends, these are all moments in the film that instantly click that button in the mind and draw you in to the events unfolding.

Poyser knows his audience and for the most part gives them what they need, but at times it does feel like it needs a little kick of inspiration to make the film something refreshingly original. At times, it does feel like this is the kind of film where you already know the final outcome of the story and also require a few more laughs, but for the most part The Bounceback is a reliable horse to back for satisfaction.

It's not a ground-breaking comedy by any means but The Bounceback is a fun and laugh-worthy ride in the world of relationships. Sara Paxton is the star of the show but credit must go to the whole cast as they comfortably breeze through and give the audience something to smile about.

LFF 2013 - The Double

A man whose career has seen him span the comedy realms of television, before setting out on his own directorial quest with the wonderfully quirky Submarine, Richard Ayoade cuts an unforgettable figure. His light-hearted style and striking persona make him one of the most interesting up-and-coming British directors out there, and things only get more intriguing with his latest release, The Double.

From the very first scene of Ayoade's second directorial feature we have the perfect set-up for our main character in question. Hard up in life and devilishly short of luck, Simon (Jesse Eisenberg) is sitting in his seat on a subway train that contains just one other person. With the remainder of the seats empty, the other individual orders him to move from his seat stating 'that seat is mine'.

Consequently, Simon is forced to move and relinquish his seat despite no other seats being taken up.
It's a perfect introduction to a character who simply cannot catch a break. Living alone and finding himself the subject of ignorance at work, Simon is a shy and reserved individual who feels like a ghost to those around him. Trying to pluck up the courage to ask out colleague Hannah (Mia Wasikowska), he soon finds that life is about to get a lot tougher as his very own doppelganger James (also Eisenberg, obviously!) arrives on the scene. The problem is; James is confident and outspoken, leaving Simon even more forgotten by those around him.

Cut from the same cloth as Garth Marenghi's Darkplace, The Double is a darkly funny return for Ayoade behind the camera and a far cry from his debut, Submarine. Presented in an alternate world it seems, the director is intent in getting into your mind and sticking in there for some time after, with dimly-let sets and laughs aplenty to keep the ball rolling. Such is Ayoade's style, that as soon as you let out a laugh you instantly feel almost guilty, as it twists and turns once again into a dark void that is certainly harrowing and unsettling at times.

At the heart of the film is a truly commendable performance from the brilliant Jesse Eisenberg. Any actor who can adapt his range to not only play a rather shy and reserved character that leads the way, but also play his polar opposite, is worthy of praise, and Eisenberg certainly nails it. Presenting one man whose downward spiral called life just goes from bad to worse, Eisenberg instantly catches the eye as he bumbles through subway journeys, finds awkwardness in a lift, and struggles to maintain a conversation with the girl he likes. It's all done superbly, and when it comes to him letting go as counterpart James, the results are fantastic.

As well as Eisenberg, Mia Wasikowska flexes her acting muscles yet again as she continues her fine form as one of the most impressive young actresses in the business. Initially a sweet-faced and innocent individual, Wasikowska soon descends into something different as Ayoade's penchant for turning slightly grim and plunging proceedings into the shadows rears its head. She is simply great, as too are the almost obligatory cameo appearances. Paddy Considine's 80s television sci-fi star is tremendous fun as he wields a laser gun and fights off enemies. While Chris O'Dowd's frantic medical advisor brings the craziness to one scene.

Richard Ayoade certainly possesses a wealth of directing talent and brings the majority of it to the plate with The Double. With a commanding blend of comedy and darkness, it may not fit with everyone, but for me personally it ticked all the boxes. Vigilant and impressive turns from both Eisenberg and Wasikowska, as well as a constant high level of directing, coupled with superb sound editing, make The Double one dark treat worth shining a light on.

LFF 2013 - We Are The Best!

The punk age of music was all about rebellion, standing out from the crowd and simply breaking away from the norm. With this firmly in mind, Swedish director Lukas Moodysson brings us his latest offering, We Are The Best!, combining punk with a wonderful story of three young girls living life to the full and embracing their growing friendship as they create their own band.

Set in the 1980s, We Are The Best! follows Bobo (Mira Barkhammar) and Klara (Mira Grosin), who are the best of friends, and seen as outcasts at their school. The main reason for this is their love for punk music; a genre that many see as aged and useless. Sporting their own punk-style hair and clothes, Bobo and Klara are on the cusp of being teenagers, and are enjoying the freedom and revitalisation that the music brings to them, resulting in their aspirations to be a band.

Eventually joined by the religious Hedvig (Liv LeMoyne), who is also cast out at school as one of the 'loser' kids, the young girls begin to spark up an unbreakable bond and friendship as they escape down a path of punk music, boys and discovery. Determined to showcase their song in the works, 'Hate The Sport', the girls soon find out what it means to be a tight-knit trio and dare to defy all those around them who doubt them.

The perfect film to give you that warm feeling inside, Moodysson's latest offering is as lively and endearing as the focus music featured in his movie. Pumping with punk songs left, right and centre, We Are The Best! is elevated with its lively soundtrack and strengthened further by a lovely story and a three-pronged attack on the core emotions through its wonderful lead actresses.

It's a great feat to get three young stars, of such young ages (12 and 13, to be precise) to command the screen and carry a film, but that's just what Barkhammar, Grosin and LeMoyne do, reminding the audience of their own childhood and how fun it was to hang with friends and experience the wonders of youth. All representing different types of characters, loud, reserved and shy, the girls bring a certain memorable edge to the film and consequently maintain a connection with the audience throughout. It's exceptional to see and is no doubt hugely down to the inspired decision from the director to have the girls live together during production of the film.

In having Bobo and Klara as untalented musicians and embracing Hedvig as the 'talented one', we also get a nice dynamic in the growing relationship, allowing for many moments of humour between the girls, almost improvised in their nature. These are among the peaks of the film and once again leave us the viewer smiling from ear to ear.

That's exactly what We Are The Best! is all about; connecting with its audience and leaving them with a warm heart and a huge smile on their face, and Moodysson's film does exactly that. It's key characters are all ones you want to back from start to end, the issues of youth covered (first love, poor decisions etc) are all very familiar and the backdrop of the punk scene all combine to create a wonderful concoction of a film defying the generic coming-of-age cliché.

We Are The Best! is a lovely surprise of a film that stands on its own two feet, providing a beautiful chemistry between its lead trio and leaves you with a grin like a cheshire cat. It's bold, humourous and packs plenty of charisma, very much like its focus music genre. This may be the best thing to come out of Sweden since IKEA...

LFF 2013 - Like Father, Like Son

Films that tackle real-life issues are often those that seem to connect to the audience much easier than, per say, a science fiction epic or an action-adventure. This often is the case due to the strength and relation with the featured characters that the audience find, and none more-so than with Hirokazu Koreeda's latest film, the powerful and emotionally driven Like Father, Like Son.

Work-driven architect Ryota (Masharu Fukushima) lives with his wife Midori (Machika Ono) and their six-year-old son Keita in a posh and pristine apartment and live a seemingly structural life. Ryota dedicates his life to work as the breadwinner of the family, while Midori works in a shop and tends to their child and maintains the homestead. Ryota has strong beliefs that his son be independent, even at his young age, ensuring he plays the piano each day and keeps that same structure applied to the young boy.

When they are summoned to the hospital, a revelation is announced as the parents discover that their child was actually swapped at birth with another, meaning Keita is not their child. Instead, a child named Ryusei is their own blood; his family at current being a mother, father, a brother and a sister. The polar opposite of Ryota, Ryusei's father is a happy-go-lucky man who invests his time with his children, often playing in ball pens with them, sharing baths and generally enjoying their company whenever he can.

As it becomes apparent that the children can be swapped back, an emotional situation boils up and the families must decide what action to take while the children are still young.

Japanese films have a special bond with the subject of family, and Like Father, Like Son is no different. Koreeda, who has gone on record to say just how personal this film is to him, presents a feature that sparks an instant connection with the audience in the way it is presented. Exploring what it means to be a parent and just how different some parents' approaches to their children vary, it is a fantastic study of humanity and our emotions.

What is most impressive is how the director creates a dynamic between the two involved families thrust into this unique and shocking situation. On one side the unbelievably exceptional Masahura Fukushima, whose parenting skills seem to be lacking, while the other father in the equation representing what a father figure should be about. While the men differ in opinions at to what should be done to solve their issue, the women of the story seem to be those who agree and have to be the problem solvers.

The gulf in characterisation is what provides the most interest in the film without a doubt, and this drives the emotional connection that is present throughout. From Ryota, with his hotel-like apartment and love for work, we instantly see he is the most troubled father, while our second father is the one whom instantly we feel a love and warmth towards. As the story drives on, we get a sense of how each is taking the news and, of course, the difficulty the children themselves are having with this awkward discovery.

The child performers themselves are also to be highly praised. They are the ones who duel with the dramatic side of things, often throwing in the more light-hearted moments of the film, but not without adding their own slice of heartiness. Such is the strength of the cast, that Like Father, Like Son breaks the boundaries of age and gives you a truly honest and heartfelt scenario that all can reach out to.

A stunning and impressive drama from director Hirokazu Koreeda, Like Father, Like Son is a breathtaking family-based Japanese offering with plenty of heart and grand performances, particularly from Masahura Fukushima. It weaves a web of intrigue for the audience and never breaks that connection, culminating in one of the best foreign entries of the year and one to savour long after the credits appear.

LFF 2012 - The Summit

Of all the featured documentaries laden across this year's schedule for the BFI London Film Festival, The Summit was one that instantly stood out from the crowd. The sheer thought of a film that tracks mountaineering and the individuals involved in such a dangerous and life-threatening past-time, appeared an interesting spectacle.

K2, also known as the Savage Mountain, is the focal point of what is an ultimately fascinating documentary surrounding a group of climbers who embarked on a mission in 2008 to conquer the mountain with the second-highest fatality rate in the world and return to their families unscathed.
Four years ago saw the most dangerous and dramatic event in all of mountaineering as 24 climbers from a variety of nations took the challenge to conquer K2 and reach the highest peak. Some having already failed previously, others striving for glory having never experienced the terrors of such an intimidating natural behemoth.

Central to The Summit comes a story of profound sadness and sacrifice as we witness the tragic demise of Irishman Ger McDonnell, just one of those eleven climbers who lost their lives over that fateful period in August. An approachable person and a favourite among the teams climbing, McDonnell lost his life after breaking the code in which all climbers agree to leave behind those who have fallen or are trapped. Instead of heading to safety himself, McDonnell aimed for courage as he set out to save those in trouble, only to fail at the hands of the deadly natural elements.

Charting McDonnell's path, as well as the men who accompanied him on the mission, The Summit documents a truly riveting and unmissable spectacle that will have you on the edge of your seat until its conclusion.

Morality, brotherhood and ultimately loss are the key elements that drive Nick Ryan's The Summit to the pinnacle of documentary making. His beautiful blend of interviews, reconstructed footage and breathtaking imagery provide what is not only one of the year's most well-balanced documentaries but one that tugs at the heart strings and offers a real representation of human nature in tough circumstances.

In the reconstruction element of the film, The Summit thrives through the cinematography of Robbie Ryan where we are witness to the spectacular views of the K2 landscapes; a beauty that soon turns to a beast of disastrous consequences. Introducing to us a plethora of varied shots covering the stunning snow-covered mountains, Ryan is quick to acknowledge such unmatched wonders and uses them to create a sense of wonderment before all flips on its head.

Beauty turned sour soon results in some rather harrowing reconstructive footage as we track the climbers from their initial planning of the expedition to reaching the pinnacle of K2, before disaster strikes as the descent proves that the Death Zone really has the name for a good reason. Merging superbly with the acting element of the film, the actual footage from the climbers and the several interviews with survivors and family members also play a key part in creating a film that truly immerses its audience.

Witnessing family members heartbroken when recounting the fateful days in which their loved ones perished or their lives hung in the balance really hits home and The Summit neatly and respectfully deals with each individual in a decent manner. Amongst the interviews, footage and real-life drama, one element of the film also looks to its audience to solve some conundrums raised.

In bringing forward the media's viewpoint of the tragic losses in 2008, The Summit cleverly grabs its audience not only emotively but also in raising certain questions regarding the huge event it has covered. In featuring the media's view that the climbers were in fact inexperienced and therefore heading to almost certain death, Nick Ryan's film also proves to become a thinking man's documentary as well as one to document a truly tragic event.

Poignant at times and forever gripping, The Summit is a remarkable documentary surrounding what was an exceptionally tragic event. The interviews will tug at the heart strings and the cinematography present the wow factor, but it is the human side of the film that wins most plaudits. Essentially a film of memories, The Summit features some incredibly engaging and intriguing real-life characters and whether you are a mountaineering enthusiast or not, is sure to have you on the edge of your seat throughout.