Starred Up

The opening moments of David Mackenzie's Starred Up show Eric Love (Jack O'Connell) as he's led into prison. On first impression, he doesn't seem too bothered by his current situation. It doesn't take long to see why he's in jail. (Of course there's a reason behind that.)

Like other British prison dramas such as Bronson and Hunger, Starred Up focuses on the dehumanizing nature of life behind bars. The main similarity between these three films is they don't sugarcoat things. They want it to be brutal and unflinching.

What's also worth mentioning is how O'Connell shows what Eric's thinking without saying anything. His eyes are almost always looking at the floor. (The few times he does look up it's always with a glare.) It's a small detail but it's something that adds to the performance.

But it's not just O'Connell's show. Also standing their own in Starred Up are Ben Mendelsohn and Rupert Friend. Both of their roles have them trying to help Eric while he's behind bars. But their efforts may be proven fruitless.

Starred Up has some flaws but the work from O'Connell manages to make up for them. It's clear that O'Connell will become a prominent name thanks to this film. Here's hoping that will actually happen.

My Rating: ****1/2

Top Five

There's a certain amount of danger present if you're often in the spotlight as the media tends to depict (and/or embellish). Substance abuse, nasty tabloid gossip, harsh critics...hey, there's no business like show business.

Chris Rock tackles Hollywood with his directorial debut Top Five. He depicts the entertainment industry not as a bloodsucking conglomerate (as it's usually depicted) but rather as one whose participants have only a short time in the spotlight before they're cast aside.

Top Five isn't too far off from other films like The King of Comedy in the sense that it revolves around a "sad clown" so to speak. The comedian who hides their personal problems behind a funny facade, fearing what others will think of them should their true colors surface.

That doesn't make Top Five less funny, mind you. It's thanks to Rock that keeps the film afloat. That said, however, there are flaws within the script. These elements work in some scenes but fail in others. Still, it's a mostly solid result.

Anyway, Top Five is a very funny film (certainly funnier than most other comedies from this year) though it's not without its problems. The many cameos are hilarious and everyone gets their moment in the spotlight. In short, be sure to check out Top Five.

My Rating: ****1/2

Foxcatcher

Bennett Miller's Foxcatcher that focuses on three men, all of whom are driven by different goals. And like what Miller did with his last two films Capote and Moneyball, he enlisted choice actors for the roles. Those actors are Steve Carell, Channing Tatum and Mark Ruffalo.

In a stunning departure from his comedic roles, Carell delves into a dark role that's truly chilling. It's clear in some scenes that something isn't right with him, but what? Here's hoping Carell gets more roles like this.

Much like what Carell does, Tatum proves he can be a bonafide actor. It's a role that requires physical and emotional endurance, and Tatum is more than capable of it. Again, here's hoping that Tatum gets more roles like this.

In contrast to his co-star's performances, Ruffalo gives a quieter turn. He gives a performance that has him witnessing all of the silent chaos unfolding. It's only a matter of time before the unthinkable happens.

Foxcatcher is very good though its slow burn might be too slow for some. Still, as is the case with Miller's films, the performances are great. Sometimes you don't know what a person is capable of, whether they're a sinner or a saint.

My Rating: ****1/2

Force Majeure

Marriage is a fickle thing, isn't it? (Then again, most relationships could qualify.) You feel as if you're with the perfect mate but as time wears on, you realize they're not as perfect as you first thought.

This is certainly a theme that runs throughout Ruben Ostlund's Force Majeure. Throughout the film, there's an aura of doubt amid the characters. What will happen to them by film's end?

What's shown in Force Majeure is how one would behave in the face of danger. But what if your decision has unforeseen consequences? This is a question that lingers throughout the film.

By many means, this is a film not usually expected from the country responsible for Ingmar Bergman. Frequently, Swedish films are of an existential nature. (Though there's a touch of that in Force Majeure as well.) If anything, there's a faint touch of absurdism to the film.

Force Majeure is by no means a brilliant film though it will leave you thinking about it afterwards. Still, it's the kind of film that that some people will have discussions about. (Sort of like any foreign film of this nature.)

My Rating: ****

The Theory of Everything

James Marsh's The Theory of Everything is by no means a perfect film. Its many elements don't always mesh. But when they do, they make for an at least decent film.

Starring in The Theory of Everything is Eddie Redmayne. The amount of physicality required for the role is something reserved only for those capable of it. And Redmayne proves just that. He's been on the rise these last few years, and it's clear that his work here will have him in demand as a result.

Alongside Redmayne is Felicity Jones. Her performance is more subdued than her co-star's but that doesn't make her work any less impressive. It's a quiet role on her part yet what she does with it is fantastic. Jones (who was also great in the underseen The Invisible Woman) will easily become more in demand thanks to this film.

But it's not just Redmayne and Jones' performances that's worth mentioning about The Theory of Everything. There's Johann Johannsson's score, which is simple yet gorgeous. There's also Benoit Delhomme's cinematography, also simple yet gorgeous. Combine them and you got a beautiful combination.

The Theory of Everything is flawed but it's not without its moments. Thanks primarily to the performances from Redmayne and Jones, the film highlights the hardships two people went through throughout the years.

My Rating: ****

Joyeux Noel

World War One. The war to (supposedly) end all wars. So much brutality in four long years. But even amid all of the unspeakable horrors from the fighting, there were times of humanity.

Such was the case of the 1914 Christmas truce as dramatized in Christian Carion's Joyeux Noel. This is a film that highlights kindness beneath the violence, something not often seen in war films. (The Pianist is another good example.)

Even though it's a French production, the film focuses on three different regiments of various armies: Scottish, French and German. It's this detail that adds to the film's nature. Even if they don't share a common language, they do maintain a certain level of civility when they interact.

As with other war films like The Thin Red Line, Joyeux Noel focuses more on the soldiers than the battles. To some, it might take away from the blood and carnage they'd usually expect from a war film. But with Carion's hand, it's something beautiful.

Joyeux Noel is a very lovely film. It's a quiet film certainly, but it's also a film that embraces the kindness of human nature. It's something most war films tend to eschew but Joyeux Noel does it beautifully.

My Rating: *****

A Field in England

Surrealism in film is something not frequently attempted. If it is, it's only done by those who know how to depict it. (David Lynch being the prime example.)

Ben Wheatley dabbles in surrealism with his film A Field in England. It's certainly not your standard cinematic fare, that's for sure. So what is it? To put it in a word, bizarre. (And even that's an understatement.)

It's Amy Jump's script that makes A Field in England what it is. (Not to mention her editing with Wheatley as well.) Just the sheer strangeness of it all is worthy of a mention. (Again, David Lynch would be proud.)

Also worth mentioning is the cinematography by Laurie Rose. The black-and-white imagery adds to the film's strangeness. Similar to Freddie Francis' work for The Innocents and The Elephant Man, it adds a beauty to the surrealism. A small detail but one worth mentioning.

A Field in England is a truly odd film but Wheatley makes the most of it. It's very much a film for certain tastes only though it's likely anyone would enjoy it. So if you like bizarre films similar to David Lynch's, you'll probably enjoy A Field in England.

My Rating: ****

Gloria

The opening shot of Sebastian Leilo's Gloria focuses on an older woman as she stands by the bar alone. This woman is our protagonist Gloria (Paulina Garcia). The story about to be told has been told before but rarely from the perspective of an older woman.

A lot of films of this nature are, as mentioned above, focused on women of a certain age. (Or, in other words, mid to late 30s.) The few films that do focus on older women and their romantic lives (Enough Said being a good recent example) are willing to focus on the other aspects of their lives as well.

What Gloria also features is something not frequently depicted is a woman with an active sex life. Usually such behavior is reserved for men because they're supposed to sleep around. But women? Don't even think about it. Thank Leilo for the contrary.

And it's thanks to Garcia's performance that makes Gloria work. She plays Gloria as a woman who doesn't let her age get the better of her, which again is a rarity amongst female roles. It's quiet by many means but it's a performance worth seeing.

Gloria is a really charming film, thanks mainly to Garcia's performance. It's a film that shines a light on a very underseen subject: life after mid-life.

My Rating: ****1/2

Beautiful Boy

The opening shots of Shawn Ku's Beautiful Boy show Bill (Michael Sheen) and Kate (Maria Bello) in happier times. The following scenes show them in unhappy domesticity. (They don't even sleep in the same room.) It's made clear that they're on their way to divorce.

But then, tragedy strikes. Their son becomes a victim in a school shooting. Not just a victim, the actual perpetrator. Amid their grief, will they find that they need each other during this difficult time? Or will their loss drive them further apart?

Grief is a complicated matter and fiction frequently depicts it. (Hey, it's a good source of drama.) People cope with grief in different ways and Beautiful Boy provides two of the more common examples seen in fiction: the one who wallows in grief and the one who steadfastly avoids what happened. It's not anything new but it's still done well.

Sheen and Bello, both fine (albeit underused) actors, make the most of an otherwise average script. They argue, they yell, they cry, they silently blame each other. In essence, what people through grief feel as they try to cope. And both Sheen and Bello provide some solid work.

Beautiful Boy is good but flaws in the script prevent it from being great. Still, the work from Sheen and Bello makes the film worthy of a look. It's not the best of films but it has its moments.

My Rating: ****

Stranger by the Lake

We all deserve a good thriller every now and again. After all, who doesn't enjoy a bit of a scare once in a while? But what Hollywood has to offer sometimes isn't satisfying enough so what is one to do? Simple: see what the rest of the world has to offer.

Alain Guiraudie's Stranger by the Lake is a thriller that you certainly couldn't make easily by many means. (And not just because of its characters and setting.) It's a daring film to say the least.

But what is it about Stranger by the Lake that makes it so daring? Well, the rather...graphic nature of it. And it's not violence that's being referred to. Honestly, those scenes make In the Realm of the Senses look like In the Mood for Love. (Then again, this is a French film.)

That said, there's more to Stranger by the Lake than just explicit sex scenes. It's also one of the latest films to depict that there's more to people than meets the eye. After all, do you really know the people you meet?

Stranger by the Lake is very good but the sex scenes do take away from the film. That said, Guiraudie has made a film that would make Hitchcock proud. Alas, like Blue is the Warmest Color, sometimes explicit sex scenes don't always add to the story. (At least with Blue is the Warmest Color's first one it was relevant. The other ones, not so much.)

My Rating: ****1/2