Knives Out (2019) film review

Year: 2019
Running Time: 130 minutes
Director/Writer: Rian Johnson
Cast: Daniel Craig, Chris Evans, Ana de Armas, Christopher Plummer, Jamie Lee Curtis, Toni Collette, Michael Shannon, Don Johnson, Katherine Langford, LaKeith Stanfield, Jaeden Martell, Riki Lindhome.

Knives Out is now showing in cinemas everywhere thanks to Studiocanal.

Rian Johnson's murderous affair, Knives Out is a return to the glory days of the whodunnit. With it's atmosphere of dread and intrigue combined with a spectacular cast who all deliver captivating performances, Knives Out is a reminder of how much fun cinema can really be when everything comes together with perfect timing.

Knives Out feels like Johnson's tribute to Agatha Christie's Hercule Poirot stories. In particular, the film follows the formula of Murder on The Orient Express with it's grand cast and their intriguing and colourful characters, each with a motive for committing the cruellest of crimes. The location here, which is incredibly important in such a story as it needs to have just as much character as the humans, is the exquisite, atmospheric and often quirky Massachusetts manor of bestselling author, Harlan Thrombey (Christopher Plummer). After his untimely death following his 85th birthday party, private eye Benoit Blanc (Daniel Craig) is called in to investigate his death. Even though the easiest conclusion to make about the cause of death is to rule suicide, Blanc believes that one of the family members has something to hide and that Thrombey's death is the result of creative foul play.

The film is a rare type of multi-layered mystery. It plays very much on the idea of things aren't always as they seem and even when you know that things aren't as they seem, how they aren't still remains a mystery. There is a certain level of predictability to Knives Out, but at the same time, it manages to be unpredictable from another angle.

However, it is Johnson's storytelling that is the keeps the film flowing and intrigue high despite whether it is predictable or not. The screenplay is airtight with extremely witty and entertaining dialogue. This characters are all unique and, despite the astounding situation, are relatable as far as personalities in big families go. No family gathering involving money and alcohol is ever a quiet event when there are clashing personalities the way there are in Knives Out. There is no doubt that in the film that Harlan's nurse, Marta (Ana de Armas) is perhaps the purest of souls and has the bad luck of being involved in situations beyond her control. The other characters have large personalities and have all been tainted by Harlan's money, which in turn has made them all dependant, greedy and, to an extent, bitter. Each has a motive to kill, but it is the journey of getting to know each of the characters and laughing at their qualities that makes Knives Out as fun as it is.

The stellar cast give their all when bringing these highly entertaining characters to life. Again, the film is very much like an Agatha Christie novel with Daniel Craig leading as the famous Benoit Blanc. He is indeed entertaining and full of life, but it is Ana de Armas as Marta who the film revolves around and she is such a gentle and endearing leading lady. She immediately earns the audience's love and respect, which is consistent throughout the film. Chris Evans gives new life to the stereotypical spoilt rich kid-adult as Ransom and, like any narcissistic character wishes to do, is the star of every scene he is in with his impeccable timing and enduring sarcasm. He is a fantastic presence in the film and undoubtedly an audience favourite. Michael Shannon, Jaime Lee Curtis and Toni Colette are all also extraordinary characters, who unfortunately don't receive as much screen time as the previously mentioned.

Knives Out brings back the lost art of making the murder mystery fun. With it's individual form of black comedy and host of brilliant characters, it is a film that transports you into a wild world of family turmoil that has never been so enjoyable.

8.5/10

The Big Take (2018) film review

Year: 2018
Running Time: 83 minutes
Writer/Director: Justin Daly
Cast: James McCaffrey, Ebon Moss-Bachrach, Zoe Bell, Bill Sage, Dan Hedaya, Robert Foster, Oksada Lada

The Big Take has a limited theatrical run at Cinema Village in New York City from September 7-13. Available on DVD and Digital on September 4.

Justin Daly's The Big Take is an intriguing, thrilling and original piece of cinema that is mesmerisingly atmospheric and an exceptional debut film from a filmmaker who is not afraid to take courageous creative chances.

At the centre of an elaborate plan by Vic (Slate Holmgren) to get money to fund a film by screenwriter, Max (Ebon Moss-Bachrach) is Hollywood actor, Douglas Brown (James MacCaffrey). Brown is under the impression that he is being blackmailed in order for a damaging video of himself not to be shown in public, but he is really part of a crazy scheme by Vic to fund a film and make himself a producer. However, Brown has access to people who can easily discover who Vic and Max are and when a visit by private investigator, Frank Maniscalpo (Dan Hedaya) to Max and his wife, Oxana (Oksana Lada) goes horribly wrong, things start to turn nasty for everyone involved. 

The Big Take  is a highly impressive directorial debut by Justin Daly. It is evident that he has a strong sense of who he is as a filmmaker and is uncompromising in the execution of his first film. Daly's style of direction is not unlike that of a younger Quentin Tarantino as The Big Take has an atmosphere reminiscent of that of Pulp Fiction. However, the screenplay (also written by Daly) cannot be compared to the 1994 film as it is a highly original piece of work. 

It's creativity in the darkly comical narrative allows for a heightened sense of suspense and unpredictability which is supported by a soundtrack that not just enhances the atmosphere, but excites and intrigues. The reason it is so intriguing is that types of music are matched with landscapes that it would not usually be associated with in film (such as reggae accompanying the image of a motorcycle on the streets of Los Angeles), but unexpectedly works so well.

It's flowing dialog is superbly written for the screen and delivered with ease by the impeccable cast. Ebon Moss-Bachrach as the unassuming Max who is the star of the film. James MacCaffrey's Douglas Brown is the Hollywood stereotype which people love to hate right from the word go, but Max is the underdog who could be the real hero of the film that everyone barracks for. He is the relatable writer trying to make his way in the tough world that is Hollywood and trying to get people to take notice, so when trouble in the form of attention comes his way he doesn't question it. Zoe Bell is also a standout as the girl who is way scarier than she initially seems, Edie.

The Big Take explores the side of Hollywood where people will do absolutely anything and question nothing to finally get their big break. Justin Daly breaks into the filmmaking scene with incredible power and is without a doubt one to watch in the future.

8/10

EXCLUSIVE interview with "Watch the Sunset" director and actor Tristan Barr

Premiering at this year's Revelation Perth International Film Festival, the thrilling Watch the Sunset is the first Australian feature film to have been shot entirely in one take.

 Directed by Tristan Barr and Michael Gosden, Watch the Sunset is a film that follows a young man, Danny (also played by Barr), who is trying to make a fresh start for he and his family away from the life of crime he was once part of. The film is a brutal study of the underlying effects of Crystal Meth or Ice, but at the same time is a love story about how far you will go for family.

 Watch the Sunset is superbly shot in one take and is done so with incredible directorial skill and stunning cinematography. The haunting musical score accompanying the film is completely unnerving, but it is the convincing performances by each member of the cast that make Watch the Sunset a confronting, but incredibly rewarding cinematic experience.

 On the eve of Watch the Sunset's World Premiere at the Revelation Perth International Film Festival, we spoke to Tristan Barr about his experience making the one-shot film and how it compares to traditional filmmaking.

 Firstly, congratulations on being part of the Revelation Perth International Film Festival! You must be very proud and excited!

Thank you! We are happy to start getting it out there.

 Watch the Sunset is primarily about the violent effect of Ice/Crystal Meth and how it is becoming a bigger and bigger problem in today's society. What made you decide that you wanted to make a film about this terrifying social problem?

The story was based on true events and the characters on real people whom I have personal experience with which stirred me to write the concept. So the biggest appeal or motivation was bringing light to their story that is a very raw reality in regional Australia. It's actually a love story at heart.

 What type of research did you do on users and their families before the film? I could imagine it would have been rather confronting....

Heaps of research, interviews, reviewing of court cases.... Sometimes tedious work, but once we uncovered some stuff, we just knew it had to feature. Some stories are unbelievable! If you made films about some of the stories we came across an audience just wouldn't believe them. I couldn't sleep for a period in pre-production.

 If you don't mind me saying, Watch The Sunset is truly incredible. It's unlike any other one-shot film as it takes place across a whole town without editing. What was the pre-production like? How much rehearsal was needed in preparation for the day of filming?

2-3 months of rehearsal. The town was incredible! Kerang (regional Victoria) was incredibly supportive and some of the best darn country folk in Australia. We were actually overwhelmed with the assistance we received and it was up to our production manager, Ally Bjørnstad to set over 80 locals in position every day who volunteered their time for the shoot. I’m so grateful to the community and patience they had with us. The film moves from one side of the town to the other and stops at about nine locations, so we are just glad we were able to utilise the whole of the town with their support. I was just hoping it would all come together, and thank God it did. I didn't want to let down all who had helped us.

 As it is filmed across a whole town, there must have been so much so much planning to keep everything running to plan. Was there anything that went wrong while filming that you had no control over?

There was plenty that went wrong that you'll never know of (laughs). Maybe we'll release some Behind The Scenes. One time a police car pulled us over in rehearsals. That would of made for an interesting addition in the actual film.

 What was the hardest part of making a one-shot film? 

Logistics. Timing. And having to compromise. Sometimes there was better cinematography in some takes and sometimes there was better performance. Choosing the take was very difficult.

 Tristan, you also star in the film as Danny, who is the lead. Was it difficult directing and acting in the film?

I didn’t see myself in the role originally when I first wrote the concept. But with the constraints we had and the way in which we were collaborating and improvising for the scripting, we (with co-director Michael Gosden) quickly made the decision we would act in it too. That decision led to us taking more responsibility over the characters and their story arcs. So it was hard to take on both of those roles. However it was sort of built into the process. Once the camera was rolling there was no real room for a director anyway, so the cast and crew were just trusting the preparation.

 What did you find were the major differences between directing a one-shot film and one in which you allow scene cuts?

The need for accuracy and planning of course, but adrenaline was the major difference. It was like we were playing a grand final everyday (laughs) Luckily we had seven attempts at the grand final.

 What plans are there for Watch The Sunset beyond the film festival?

We are playing at the Brisbane International Film Festival and have some interest in Sydney & Melbourne as well as a big international launch.

 To keep up to date with were the film is being shown follow:
https://www.facebook.com/watchthesunsetfilm/
Twitter: @watchthesunfilm
Instagram: @watchthesunsetfilm

Get Out (2017) film review

Year: 2017
Running Time: 104 minutes
Director/ Writer: Jordan Peele
Cast: Daniel Kaluuya, Allison Williams, Catherine Keener, Bradley Whitford, Caleb Landry Jones, LilRel Howery, Marcus Henderson, Betty Gabriel, Lakeith Stanfield

Get Out will be released in Australian cinemas on May 4 and is distributed by Universal Pictures.

Jordan Peele's Get Out is the intelligent, yet terrifying horror we have all been waiting for. Not only does it do the incredible job of successfully combining features of classic and modern day horror, it is especially brave and socially important.

Get Out is something special that breaks through the confines of it's genre and becomes a film that is relevant, entertaining and enjoyable for a greater audience. Peele's story of a young man, Chris (portrayed by Daniel Kaluuya) who arrives at his girlfriend, Rose's (Allison Williams) parents' estate to find that a nightmare awaits him may sound straight forward and even like a somewhat atypical horror/thriller. Yet, what is built into this fairly basic plot makes Get Out a deep, layered and thought provoking film.

The film is one of the most interesting horrors to have been released in years. While the majority of horror films have an easily recognisable villain in the form of a supernatural being, a monster of some description or a psychopath, here it is a group of people characterised by their race who are the villains. Get Out shows people of colour as being the victims and the Caucasians being the villains, which has indeed been the case in many historical events over the years. The reasoning behind this (which is revealed towards the end) is incredibly empowering for people of colour.

However, Peele approaches this in such a careful and creative way that while Get Out is truly inspiring for people of colour, it is not disrespectful or hateful towards Caucasians and does not alienate anybody when it comes to the enjoyment of the film.

The way in which this major and ground-breaking theme has been incorporated into the film is brilliant and creative. Yet, it is not the only thing smart about the screenplay. Get Out is completely unpredictable, terrifying and edge-of-your-seat suspenseful. Throughout the film, anyone watching is just as confused as Chris, who is convincingly and endearingly portrayed by Daniel Kaluuya. There are clues as to who the villain(s) are, but as to why they are actually the bad guys and the reasoning behind it is unclear until just before the final tense and stressful act. When all is revealed, it becomes clear how clever and intriguing the screenplay truly is with all the pieces of the puzzle fitting together perfectly.

On the other hand, Get Out also draws inspiration from classic horror in it's production. At times it is reasonable to question whether the film is more of a thriller than a horror, but it contains far too many combined features that belong to the horror genre for it to be considered otherwise. From the introduction to the evils at work in the opening scene to the orchestration of the final scene, Get Out follows a traditional horror film formula. Adding to it's modern take on classic horror is the dramatic musical score by Michael Abels (which is reminiscent of Alfred Hitchcock's Psycho), haunting locations (remote home within the forest as has been seen in many a film over the years) and trance-like, psychedelic dream sequences (although not horror, reminiscent also of Hitchcock's Vertigo).

Get Out is an exceptionally strong directorial debut for Jordan Peele and makes one excited to see what he does next. It is a film that even those who dislike horror can appreciate and enjoy...maybe even have a bit of an unexpected laugh too.

9/10

Inferno (2016) film review

Year: 2016
Running Time: 121 minutes
Director: Ron Howard
Writers: Dan Brown (based on the novel by), David Koepp (screenplay)
Cast: Tom Hanks, Felicity Jones, Ben Foster, Irrfan Khan, Sidse Babett Knudsen, Omar Sy, Ana Ularu

Inferno is now showing and is distributed in Australia by Sony Pictures.

Dan Brown's fast-paced suspense novels that typically tread a fine line between fact and fiction almost beg to be adapted into screenplays. So why aren't they working so well on the big screen when they are so popular among readers?

Inferno is just fine. Like the book of the same name, it follows the same pattern of those which have come before it...with a few minor differences. Robert Langdon (portrayed once again by Tom Hanks), the Professor of Religious Iconology and Symbology at Harvard University who has such a strong pull to dangerous situations, wakes up in a Florence hospital recovering from a gunshot wound with no recollection of how he arrived there or in the city. With the help of Dr Sienna Brooks (Felicity Jones), Langdon attempts to solve the puzzle set out for him which heavily involves Dante's "Inferno", as well as trying to understand why his life is in danger thanks to those who are following his every footstep.

For The Da Vinci Code in 2006, the order of the day was over-expectation considering how astronomically successful the book was. Despite the film not being well-received by critics, it performed very well at the box office as all those who read the Dan Brown book flocked to see Ron Howard bring it to life. Much the same occurred with Angels and Demons in 2009, so why not bring Brown's sixth novel, Inferno to the screen?

Inferno is high paced and entertaining for the most part and intriguing enough to keep your attention for it's entirety. However, as stated before, the small details are not enough to make the film feel original by any means. Any reader of the Brown books and those who have seen both The Da Vinci Code and Angels and Demons, it is inevitable that there will be at least four twists in the story and these twists may be predictable in their occurrence, but the good news is they are still unforeseeable in nature.

And of course, there's a whole lot of facts about historic places and artefacts thrown in there as the books can often feel as though they are a regurgitation of a "Did you know?" history book. However, this is one of the reasons why people still do flock to see these films as it is like having a guided tour of such locations....with the tour guides constantly running from the bad guys. Florence and Venice are on show in exquisite fashion. If you are planning a holiday to these cities, than Inferno may work as a great tool for what to see with a whole set of trivia attached to it (as what The Da Vinci Code did for Paris and Angels and Demons for Rome). There are some truly beautiful landscape shots, but the depiction of Dante's "Inferno" on Earth is downright terrifying.

Tom Hanks is solid in his third outing as Robert Langdon. He gives a flawless performance of the character of Robert Langdon, which he has moulded to be his own over the past three films. Felicity Jones has bee given the job of portraying a character who is not particularly interesting until the last third of the film and as would be assumed, her performance hits it's stride at this time. One of the best things about Inferno is it's depiction of the "bad guys". The film correctly shows that most of the time in real life, the people who are perceived as being the enemies always believe that they are the good guys and are doing the right thing, as is shown here.

Inferno is entertaining, but is just another film in the now tired series of Dan Brown adaptations.

6.5/10

The Girl on the Train (2016) film review

Year: 2016
Running Time: 112 minutes
Director: Tate Taylor
Writers: Paula Hawkins (based on the novel by), Erin Cressida Wilson (screenplay)
Cast: Emily Blunt, Rebecca Ferguson, Haley Bennett, Justin Theroux, Luke Evans, Edgar Ramirez, Allison Janney, Lisa Kudrow, Laura Prepon

The Girl on the Train is now showing in cinemas everywhere and is distributed by Entertainment One in Australia.

One has to feel sorry for The Girl on the Train.

When the novel by Paula Hawkins was released in early 2015, it instantly drew comparisons to Gillian Flynn's "Gone Girl" with it's similar themes and suspenseful nature. It was only ineviatble that the film directed by Tate Taylor would also be compared to the film version of Gone Girl, which was directed by David Fincher. While this comparison is harsh to have to contend with, The Girl on the Train also faces the comparison that could never have been avoided which is the eternal question of whether the movie is as good as the book.

It feels as though The Girl on the Train was never destined to be it's own film as the filmmakers obviously knew the pressures they were going to be unable to avoid. As a result, it evidently struggles with it's own identity and caves under the pressure in several areas, but excels itself in others.

The girl on the train is Rachel (Emily Blunt), a woman who has turned to alcoholism after several bad turns in her life including having her husband, Tom (Justin Theroux) leave her for another woman, Anna (Rebecca Ferguson) whom he is now married to with a small child. Rachel travels by her old house each day and see's an idyllic couple a few doors up who she likes to believe are living the life she misses so greatly. However, one day she witnesses something in this perfect house that makes her fall apart and plummet into an alcohol-induced black spot which she can only remember fragments of. It is only when she hears that Megan Hipwell (Haley Bennett) has disappeared that she starts to become paranoid that she is the one behind her disappearance.

Although there are several notable differences from the book that impact the film's depth, The Girl on the Train carries with it the same atmosphere and suspense which made the novel so popular. The story is in itself unsettling with characters that are intriguing, but are all quite unlikable. All the people in the film (except Lisa Kudrow's Monica who was invented for the film) are extremely flawed human beings to the point that they all feel dirty to watch. Emily Blunt's Rachel is one that is particularly hard to watch, just as she was to read in the book. This is a woman in so deep that she cannot pull herself, only dig herself in deeper. Of course, this terrible character trait is what moves the story along and is ultimately justified despite being so frustrating. A film does not need to have likable characters in order to work and although all the cast give splendid performances, there is no connection between the viewer and the characters because one does not want to feel connected to people like this.

However, unless you have read the book, Taylor's film does carry a real sense of suspense and unpredictability that make it impossible to look away. The reason The Girl on the Train is so often compared to Gone Girl is because they both have the resounding theme of how well do we really know the ones closest to us. Paula Hawkins book delves into this in greater detail than the film. As the book was written in the first person by all three of the main female characters in rotating order, the film struggles to adapt to this and fit it into it's nearly two hour running time. Rebecca Ferguson's Anna is particularly hard done by as her character is sliced of all her gritty inner thoughts and true character development.

One of the resounding questions posed by anyone who had read the book beforehand is how Emily Blunt could have possibly been cast as Rachel? In the novel, Rachel is referred to numerous times as being unattractive, overweight and repulsive..... a description that does not suit the genetically blessed Blunt. The make-up department certainly tries their hardest to make her less attractive, but the way Blunt disappears into her role makes one forget about her outward appearance. Her performance is of the incredibly unstable Rachel is just superb and shows a great deal of variety within her screen time. The bathroom mirror scene is particularly memorable for how terrifying she suddenly becomes.

Haley Bennet is also wonderful as Megan. Her character and performance seem one-dimensional for the majority of the film until towards the end when she has the opportunity to show how much talent she truly has and rises to the occasion. Rebecca Ferguson does what she can with her role, but again, she is denied the depth Rachel and Megan are given. Luke Evans shines as the grieving husband, Scott and it is unfortunate he didn't have more screen time. Justin Theroux does fine as Tom, but his is the only performance in the film that feels a little too restrained, particularly as it heads into the final quarter.

The Girl on the Train cannot help but be compared to the novel in which it is based on by those who had read it, which in this case is not a good thing. The film has a dark and grimy atmosphere with a screenplay that evidently struggles to be all it wants to be. Yet, the cast (particularly Emily Blunt and Haley Bennett) breath life into the film and save it from being merely a failed adaptation.

6.5/10

"Double Down" (2015) book review

Author: Victoria Pratt
Publication Year: 2015
Genre: Crime/ Thriller/ Romance
Publisher: Entangled Publishing, LLC

Double Down is available now from Amazon in Kindle and paperback format.

"Double Down" is the strong, impressive debut novel from actress turned author, Victoria Pratt that is riveting, unpredictable and at times downright hilarious. Cassidy Jones has never been one to back down from a challenge and for this reason she loves her job as a cop, even if she doesn't always get the respect she deserves from her male counterparts. However, her new mission places her in a situation she never thought she would find herself in...going undercover as a stripper at one of the city's most exclusive clubs. Her duty is to find out a much as she can about a mobster who is murdered on the premises and who's killer is still at large, but she wasn't counting on actually falling for the deceased's brother, Lorenzo who is a likely suspect in the case. Cassidy is set on being professional and putting her work ahead of her love life, but a girl can still have a bit of fun in the face of danger, right?

In what is expected to be the first in the series of books centred around undercover policewoman, Cassidy Jones, one finds a protagonist who is personable and relatable, but also entertaining, witty and likable. The hilarity and wonderful sense of humour of Pratt's Cassidy Jones will draw comparisons to Janet Evanovich's Stephanie Plum, but Cassidy is a greater force to be reckoned with with her tough but sexy edge. She is an extremely well written strong female character which is what is so often needed, but not granted in crime/ thriller novels. Pratt has a great ability through her use of language to bring the characters and places featured in "Double Down" to life so that they truly seem real and believable.

It is astonishing that this is Victoria Pratt's debut novel as it is slick and professionally written without the pitfalls most first time authors display. Despite it's comical edge and the conversational style employed by Pratt throughout the book, "Double Down" does not come across as too colloquial or laid back and so does not lose it's compelling and thrilling edge. It also doesn't lose any of it's suspense and strength while it manages to also be comical. Humour has it's own place in the book and doesn't interfere with the severity of the events featured. The finale is also truly unpredictable, which is again something thrillers are becoming less so these days. Yet, Pratt's creativity and ability to subtly avoid the stereotypical ensures that one is kept guessing right until the very end and there is no cause for disappointment.

"Double Down" is a powerhouse start to a new series by Victoria Pratt that is expected to be just as entertaining and exciting. It leaves one impatiently craving more Cassidy Jones and a sense of anticipation as to what is coming next.

9/10

June (2015) film review

 

Year: 2015
Running Time: 84 minutes
Director: L. Gustavo Cooper
Writers: Sharon Y. Cobb and L. Gustavo Cooper
Cast: Kennedy Brice, Victoria Pratt, Casper Van Dien, Eddie Jemison, Lance E. Nichols, Juliette Beavan, Addy Miller

June is now available on DVD and VOD in the United States and Australia.

June takes the somewhat tired horror cinema concept of evil spirit possession and breathes unexpected new life into it. With a young title character who is both sympathetic and terrifying simultaneously, L. Gustavo Cooper exquisite film making enables the creation of a horror film that is suspenseful with a welcomed emotional edge that sets it apart from other films of it's genre.

As a baby, June's (Kennedy Brice) parents offered her as a sacrifice in a cult ritual that went horribly wrong and the result was the supernatural being, Aer entering June and using her body as a vessel. At nine years old, June is being moved from home to home as a result of the strange and dangerous happenings that occur when she is around and her extreme introvert nature which immediately makes her an outsider. When she is fostered by Lily (Victoria Pratt) and Dave Anderson (Casper Van Dien), it seems as though she has finally found the perfect home with a loving and understanding family. However, June's past is about to catch up with her and the terror is only just beginning.

On first glance, June may draw comparisons to a number of other films of the horror genre including Firestarter, The Exorcist and Carrie, but it has it's own sense of identity and originality. June is continuously fighting the spirit, Aer within her and struggling to find which parts of herself are actually her and which are Aer. June is a story about finding out who you really are and fighting against your inner demons to overcome the obstacles that are preventing you from being yourself. However, this does not prevent the film from being extremely suspenseful and terrifying at times. The empathy that one has for June and her situation only makes the suspense greater as nobody wants to see someone so young who has had so much sadness in her life be the subject of these dreaded supernatural occurrences.

Cooper's film making style shows hints of Alfred Hitchcock, especially in regards to his use of montage in the opening sequence and range of camera shots throughout the film. June is really a beautifully shot film with some exquisite shots of nature and intriguing camera angles. The beauty of the nature shots forms an extreme contrast to the mayhem of the rage scenes in the film, symbolising the opposites of June and Aer. The original musical score by Sean and Juliette Beavan (who also plays the Priestess in the film) adds to the atmosphere of the film and it's versatility supports the two sides of June.

Kennedy Brice is perfectly cast in the lead role of June. June is an extremely complex character as her possession by Aer is not all-encompassing of who she is and is something she fears and dreads as much as anyone else, which is unique in a horror film about possession. From early on, June is established as a poor little girl who is aware that she is not only different, but also dangerous and keeps her distance from people for fear of hurting them. June is a particularly relatable character for this reason, as many people have a part of them that they are afraid will lead to someone being hurt if they expose them to it, whether it be something from their past or a condition they have. It is an unique thing to find such a character in a horror genre film that can be so relatable. One understands how Lily can form such an attachment to her as there is an immediate sympathy felt for this poor little girl who wants so badly to be loved, but is afraid to. Brice evokes this sympathy from the audience superbly and manages to be sweet and lovable, yet terrifying.

Lily and Dave Anderson, who are portrayed by Victoria Pratt and Casper Van Dien, are the perfect parents for a troubled child like June. Pratt's performance is incredibly emotional and heartfelt and she provides a maternal and nurturing side to Lily that makes her extremely likable. Van Dien's Dave is a character that one also feels sympathy for as he really has done nothing wrong and seems completely reasonable, but feels the wrath of Aer who he believes is June.

June has greater depth and character than many of the other films it is pooled with and compared to in the horror genre. Well made and tightly written to encompass emotion and suspense, June pleasantly surprises and pleases.

8/10

Bridge of Spies (2015) film review

Year: 2015
Running Time: 142 minutes
Director: Steven Spielberg
Writers: Matt Charman, Joel and Ethan Coen
Cast: Tom Hanks, Mark Rylance, Amy Ryan, Alan Alda, Billy Magnussen, Austin Stowell, Will Rogers, Sebastian Koch

Bridge of Spies opens in Australian cinemas on October 22 and is distributed by 20th Century Fox. Opening in the United States on October 16 and the United Kingdom on November 26.

The intrigue and suspense provoked by Bridge of Spies reconfirms Steven Spielberg's status as one of the greatest cinematic storytellers of our time. The Academy Award winning filmmaker's ability to take on a screenplay based on a well known true story and conjure up a strong sense of suspense and intensity all while ensuring that the piece of work is visually fascinating is extraordinary and exhibited wonderfully in his latest film.

Spielberg works with the screenplay written by Matt Charman and Joel and Ethan Coen in a way that makes you overlook the small inconsistences and deem them forgivable. While the screenplay is not air tight and there may be forgivable reasons for this, it is still extremely intelligent, entertaining and contains the witty edge that one can expect from a Coen brothers creation.

Set during the Cold War in the 1950's, James B. Donovan (Tom Hanks), an insurance lawyer who is very much out of practise with criminal law, is assigned by the CIA to defend alleged Russian spy, Rudolf Abel (Mark Rylance). Although Abel is tried and convicted of espionage, Jim is able to convince the judge that his client is worth more to America alive than dead and saves Abel from the electric chair. His intuition pays off as an American spy plane pilot, Francis Powers (Austin Stowell) is shot down in enemy territory and convicted, unable to return to America. Jim is once again called upon to travel to East Berlin to negotiate an exchange between Abel and Powers, but he also makes the decision to try and exchange Abel for both Powers and Frederic Pryor (Will Rogers) an American Economics student who was captured being in the wrong place at the wrong time. This decision is not a popular one with anyone, but Jim stands strong behind his decision and risks it all.

Bridge of Spies is undeniably packed with intrigue and suspense that is so often lost in a cinematic retelling of a true story. The film is largely accurate despite some expected over-dramatization to move the pace of the story along quicker (such as the speeding up of time lapses between events) and to create a greater sense of suspense and tension. Spielberg's direction is absolutely superb in that he knows how to bring out the most in every situation through mise en scene. Everything and everyone in the film is perfectly placed so that Bridge of Spies resembles a work of art and is truly exquisite to behold. The entire film is so beautifully polished and neat that one is transfixed by the story and visuals, which is what gives one a true sense of captivation for the entire length of the film.

As previously touched upon, the screenplay is not completely air tight with certain subplots being left unfulfilled, such as the romance between Jim's daughter, Carol (Eve Hewson) and his assistant, Doug (Billy Magnussen). One can make the assumption that at 142 minutes, there may have had to have been some editing and scenes removed to stop the film becoming unnecessarily long. Yet, the screenplay contains incredibly entertaining and intelligent dialogue with a surprisingly witty edge to it in moments most unsuspected. Despite the film also being one about a man who became a hero because of his negotiation skills, there is very little hero worship and patriotism. There are moments where there could have been room for extreme sentimental value, but they are thankfully left as is. This is particularly true of the pivotal bridge scene, which has a beautiful moment without fanfare that could have so easily been ruined by it. Donovan is also played out in the film as an everyday hero. He does not possess super human qualities, not does he present himself in the film as someone who feels he is on the road to doing something grand and important. This works perfectly as that is the hero people prefer to see in a film as he doesn't make people believe he is definitely going to have everything work out the way he wants, hence the sense of suspense.

Another critique one may give regarding Bridge of Spies is that there is a lack of character depth and development. The lead character of Jim Donovan is without a doubt the most well rounded and established character and this is to be expected as much of what occurs in the film involves him. One comes to know him as the family man, the persistent lawyer and talented negotiator, but still the everyday man during the film. Hanks does well to portray the man many would consider a national hero and gives a solid and strong performance, but it is not a performance that is particularly challenging nor calls for any great emotional strain. However, it is perfect casting as Hanks is truly the ideal individual to be playing Jim Donovan.

It is true that no other receives as great attention as Jim Donovan does in regards to the building of character, but this is actually a positive for the complex character of Rudolf Abel. One believes they feel confidant in knowing the intentions of the convicted Russian spy, but as Abel never speaks of his crimes against the United States, he remains a mystery and this works exceptionally well for his character. The lack of knowledge regarding Rudolf Abel and who he really is adds to his charisma and makes him absolutely intriguing. Although he is labelled as an enemy of the United States, he has a likable quality in his introvert nature that is supported by his clever dialogue. Mark Rylance gives an absolutely superb performance as the stoic and mysterious Abel and works very well on screen with Hanks.

Bridge of Spies may not be completely without it's flaws, but they are all forgivable as a result of the wonderful things it achieves. Steven Spielberg and Tom Hanks once again prove they are an unbeatable force in film.

8/10

Death Valley (2015) film review

Year: 2015
Running Time: 88 minutes
Director: T.J. Scott
Writers: Brad MacPherson and T.J. Scott
Cast: Katrina Law, Lochlyn Munro, Victoria Pratt, Nick E. Tarabay, Juliette Beavan, Jeremy Ratchford, Kelly Hu

Death Valley will be available in the United States on October 20 on DVD and VOD.

Death Valley is a clever psychological thrill ride that surprises and outsmarts right till the end and mesmerises with it's stunning visuals of the rugged landscape. After a wild night which results in a an impulsive dash to Las Vegas for a shotgun wedding, the joyous road trip takes an awful turn when they hit a woman alone in the middle of the road with a gun pointed straight at them. When it is realised that they have killed the woman instantly and their car is no longer drivable, opinions are divided regarding what they should do between Hollywood heavy-weight Billy Rich (Lochlyn Munro) and his little muse Annie (Katrina Law), and married couple Jamie (Victoria Pratt) and Roy (Nick E. Tarabay). As the heat starts to mix with the alcohol and other chemicals the four have ingested, personalities start to clash, paranoia sets in and cracks start to show in relationships leading to the conclusion that there is more than one way to die in Death Valley.

Tense and unpredictable, Death Valley is wonderfully thought provoking and intelligent. It teases it's audience by allowing them to believe that they are aware of all the characters flaws and motives before slowly revealing itself just as the characters are showing their true colours. The film's haunting nature leaves a lasting impression with it's air of dread and danger which is a result of both the remote location and the tricks it can play and the underlying themes. The actual Death Valley is, as it's name suggests, not the safest place on Earth to be stranded and with the assistance of drugs and alcohol heightens the stress and emotion of the experience. For some it means not taking the situation seriously and others not being able to handle the stress of the situation, but for everyone it means the experience is one of high emotions and it becomes not just the heat that is the danger, but each other.

The evil lurking underneath picture perfect Hollywood is also exposed in Death Valley. On the surface, the Hollywood lifestyle is what everyone wants with it's money, success and parties, but underneath it can sometimes not be as attractive as it seems. Once away from their lives which exist in Los Angeles, the characters realities are exposed and nothing and nobody is what they seem. This leads one also to contemplate how well we know the people we are with, as in Death Valley it seems as though each of the four believe they have the others figured out, but they are far from the truth.

T. J. Scott's direction is exquisite and he works with the elements to perfection. The extreme heat and aridity of the desert radiate off the screen using the appropriate cinematography for the location. Yet despite the pain and suffering that is attached to Death Valley, the film also captures it's beauty with some incredible shots of the rugged landscape. The soundtrack by Sean and Juliette Beavan (who also plays the doomed Holly Fields) is extremely enigmatic and fitting for the film.

The character development of the individuals in the film who are part of the unfortunate journey in Death Valley is strong and extremely well done. Each of the characters change and open up to who they really are during their trek across the desert and their pasts and true selves are revealed. When we first meet Lochlyn Munro's Billy Rich, he is arrogant and rather unlikable, but little by little he reveals his insecurities and becomes more endearing as the film progresses. Katrina Law's Annie is much the same, as she starts off making everyone believe she is a ditzy Hollywood starlet, but she is so much more than that. Law has the wonderful ability to play a number of different roles within one character. Victoria Pratt gives an incredibly emotional performance and is incredibly strong in her role as Jamie, as is Nick E. Tarabay who has so many facets to his performance that he appears to be terrifying in himself.

Death Valley comes to symbolise the relationship between dangers of the land and the intensifying of dynamics between individuals. It is a terrifying in the best of ways and unpredictable till the very end.

8.5/10

Infini (2015) film review

Year: 2015
Running Time: 110 minutes
Director: Shane Abbess
Writers: Shane Abbess and Brian Cachia
Cast: Daniel MacPherson, Grace Huang, Luke Hemsworth, Bren Foster, Luke Ford, Dwaine Stevenson, Louisa Mignone, Tess Haubrich

Infini is now available on demand in Australia and is distributed by Entertainment One. Now showing in cinemas in the United States.

Although Australian film has had much success on a national and international scale with such horror pieces of cinema as Wolf Creek and The Babadook, it is not known for yet conquering the sci-fi genre. Infini is a triumph for Australian cinema that will destroy this perception with it's shocking and intense combination of futuristic thriller and horror. Towards the end of the 23rd century, off-Earth travel has been achieved through the process of slipstreaming, which is a most controversial subject due to the danger involved and it's high fatality rate. Whit Carmichael (Daniel MacPherson) is stranded on a distant mining station after a freak accident involving the rest of his team and an elite rescue team sets out to rescue him. What awaits the team on this remote station is a lethal contagion where death is only the beginning of the horror.

Opening with complete chaos, Infini is intense and action-packed from it's very first moment. The combination of the sci-fi and horror film may not be a brand new one, but Shane Abbess' film puts a new spin on what the future beholds and what new nightmares may come our way. While paying homage to Alien in it's production and ever so slightly to 1998's Phantoms with it's horror element, Infini very much knows what it is and is a survival film rather than a narrative. Incredibly intense and not for the faint-hearted or queasy, the film is unpredictable and surprising. It can be rather shocking in it's screenplay and visually, but this is an enjoyable form of confrontation for anyone who enjoys either or both sci-fi and horror.

The method of rapid and non-continuous editing that the film employs can originally feel messy and often confusing, but as the film goes on one comes to understand why this decision was made as it adds to the final revelations. The production design of the world in the 23rd century and of the mining station are very well done. Sci-fi territory tends to come with the expectation of extravagant and impressive special effects. However, while Infini has minimal special effects compared to the big budget Hollywood genre films, it does not for one moment feel as though it is lacking. All CGI and special effects are used when they need to be and used well. The absence of more isn't felt throughout the film as one is so engrossed in the story that the suspense doesn't allow you time to think otherwise and when there is the time it is something to embrace.

Daniel MacPherson gives an exceptional performance as Whit Carmichael. He is the perfect leading man for the film with his strong presence and sense of confidence that he projects on screen. Yet, his character is still very much relatable and very human as he swings between the emotions one would when they are made fully aware that survival is not guaranteed. Grace Huang is also a stand out and Luke Hemsworth, Dwaine Stevenson and Harry Pavlidis can all be rather terrifying.

Infini is a fine achievement in Australian cinema, but it is a fine film in it's own right with it's intensity and clever production.

7.5/10

Insurgent (2015) film review

Year: 2015
Running Time: 119 minutes
Director: Robert Schwetke
Writers: Veronica Roth (novel), Brian Duffield, Akiva Goldsman and Mark Bomback (screenplay)
Cast: Shailene Woodley, Theo James, Miles Teller, Ansel Elgort, Kate Winslet, Naomi Watts, Jai Courtney, Octavia Spencer, Zoe Kravitz, Ashley Judd

Insurgent is now showing in cinemas everywhere and is distributed in Australia by Entertainment One.

Insurgent is a fine follow up to it's predecessor, Divergent (2014). After escaping from Erudite's ruthless leader, Jeanine (Kate Winslet),  Tris (Shailene Woodley), Four (Theo James), Caleb (Ansel Elgort) and Peter (Miles Teller) are hiding out with the members of the faction Amity as fugitives while they decide what their next move against Jeanine is. A twist of fate results in three of them encountering and lodging with the factionless, a group much bigger and better equipped than they ever thought possible who are led by Evelyn (Naomi Watts). Tris finds that Evelyn is just as keen to declare war on Jeanine, but first she has to battle her own demons and make peace with herself for how her and her Divergence have impacted the lives of those around her.

As the second film in the series based on Veronica Roth's novels, Insurgent is just as action packed and thrilling as the first film. The story continues without a lapse in momentum as it wastes no time in restarting the intensity experienced in the first film and reacquainting the audience with the characters. The film does not for one moment allow itself to settle and there are no moments of tedium as there is continuous suspense and unpredictability for those who haven't read the books.
Insurgent is exceptionally strong for what it is and that is a second film. As a first, final or stand alone film it wouldn't be of substantial quality, but it is a well done second film.

Again like the first film, Insurgent's production design is extremely impressive. The city turned wasteland is visually intriguing and extremely detailed. The musical score is a perfect fit for the overall suspenseful atmosphere of the film and adds to the intensity of the story. The CGI for the most part of the film is fine, but towards the end of the film starts to look purely computer generated and not realistic, which is never what viewers want to think even when they are well aware of what is computer generated. One has a hard time taking the final scenes in which Tris is at a height seriously as the unrealistic feel of some of the images is so distracting.

The characters themselves are really quite stereotypical of the young adult novel series turned film trend that is prevalent in cinema of this day and age. However, as a result of the cast being so good in their roles the normality of their characters is both forgiven and forgotten. We have the ballsy female protagonist, the male hero, the smart mouth and the bad guy, all typical characters but well portrayed by Shailene Woodley, Theo James, Miles Teller and Jai Courtney. Each brings a great deal to their character while not overplaying the less than original character traits. The Divergent series of films are extremely well cast for this reason. Woodley once again proves her ability as a leading lady and shows so much strength in every scene throughout the film.

However, Kate Winslet's Jeanine has the opposite effect. Her character is full of normality and it isn't her acting that overdoes the character, it is the accompanying cinematography (particularly towards the end) that makes her evil characteristics laughable. Naomi Watts' Evelyn is an enigma, but not a tremendously exciting one. She does not come into intrigue until the final moments of the film and even then she does not show any particularly interesting character traits.

What one is left with at the end of Insurgent (unless they have read the complete series of books) is a loss as to where the last two films are going. The moment that can be described as the cliff hanger doesn't give away enough to make one really excited about the next film. Therefore as strong as the rest of the film is, the finale arrives and with it delivers a sense of indifference for the next film. Insurgent is a strong follow up to Divergent and a fine film in it's own identity, but unfortunately doesn't provoke a sense of excitement for the next two films.

7/10

Run All Night (2015) film review

Year: 2015
Running Time: 114 minutes
Director: Jaume Collet-Serra
Writer: Brad Inglesby
Cast: Liam Neeson, Ed Harris, Joel Kinnaman, Common, Boyd Holbrook, Vincent D'Onofrio, Genesis Rodriguez

Now showing in cinemas everywhere. Distributed in Australia by Roadshow Films.

Underneath it's hard exterior of action and suspense, Run All Night  is a dramatic film about the ties between family and friends that just misses it's emotional calling but is nevertheless entertaining. One time hit man, Jimmy Conlon (Liam Neeson) is haunted by the ghosts of his past to the point where he is unable to function in daily life. The only person he can still depend on and call a friend is mob boss, Shawn Maguire (Ed Harris). By a terrible twist of fate, Jimmy's estranged son, Michael (Joel Kinnaman) witnesses Shawn's son, Danny (Boyd Holbrook) shoot a man dead and Danny wants to make sure Michael keeps his mouth shut by doing the same to him. In order to save his son, Jimmy instead takes Danny's life, which forces Shawn's hand to go after Michael to even things up with his long time friend.

Run All Night has an interesting basis and one that could push the film in the direction of a psychological thriller. The opportunity was there for the film to express the internal battle the characters of Jimmy and Shawn should have been feeling having to do something so atrocious to people they are personally connected to. It is something that is touched upon to an extent, but Run All Night wants to focus primarily on the action and suspense. It succeeds in this department as the film is indeed action packed and thrilling, but would have gone from being a mediocre film to a very good film had there been a greater emotional connection to the characters and their situation.

Yet the family dynamics between the Conlons and the Maguires make an interesting case study. It is obvious who is the more responsible and loving son and it is the one who grew up with an absent father. Michael is incredibly hostile towards his father as he rarely saw him when he was growing up and left Michael and his mother to fend for themselves. He grew up to have a family he loves with two little girls and a son on the way and is an active member of the community. On the other hand, Danny has little respect and love for anyone besides himself and following in his father's footsteps by participating in illegal activities. Yet, Shawn was present for Danny's childhood. Run All Night provides a demonstration of how children will learn from their parents and this is part of who they become. As Michael's dad was absent, he learnt how it felt to not have a parent present and made sure he was there for his family and for others who were without fathers. He was immune to his father's violent world and he played no witness to it, while Danny grew up watching and learning from his mob boss father. This is not a case to make for all parents and children, but an interesting one to contemplate from this film.

Visually Run All Night has it's own character and is unique in it's own way. It's attempts to do something different with it's cinematography and has no lack of continuous camera shots and editing that creates havoc within itself. It is admirable that there is the intent to try something different and it does succeed in doing this, but these attempts do not add anything to the film. In particular the style of editing employed may try to support the high speed intensity, but it is creating more of a sense of craziness and mayhem. The film has plenty of fast paced action sequences which are suspenseful when the film as a whole is largely predictable.

Run All Night is a film that would have truly benefited from an emotional attachment to it's characters through the right direction and allowances in the script. What meek attempts it makes of being sentimental are lost in weak performances by fine actors. There is absolutely no doubt that Liam Neeson, Ed Harris and Joel Kinnaman are capable of delivering stronger performances with the desired level of emotion which their characters should have been granted. All the actors give borderline performances that are not bad for any reason, but not wonderful for a greater reason.

As an action film, Run All Night does enough to make itself watchable and enjoyable. However, the subject content not only allows for more, but demands more to be given as far as you can't be talking about killing your best friend's children in emotionally controlled circumstances.

5.5/10

Focus (2015) film review

Year: 2015
Running Time: 104 minutes
Directors/Writers: Glenn Ficarra and John Requa
Cast: Will Smith, Margot Robbie, Rodrigo Santoro, Gerald McRaney, Adrian Martinez

Focus opens in Australian cinemas on March 5 and is distributed by Roadshow Films. Now showing in the USA and UK.

Although Focus often resembles artistic mayhem and confusion, it may be exactly the movie experience that cinema goers are craving for. While it wants and tries very hard to be smart, sassy and stylish, its falls short but remains fun, witty and entertaining while doing so. When amateur con, Jess (Margot Robbie) meets big time con, Nicky (Will Smith) she begs him to teach her his methods and to accept her into his glamorous world of trickery. The two soon find themselves not only working together to increase their fortunes, but also in a romantic sense. Yet, Jess can never figure out what is real when it comes to Nicky's affections and his intentions.

Focus is a long way from being a flawless film, but it is remarkably entertaining and enjoyable due to the screenplay's original execution and it's constant surprise element. The film has the nature of the con artist and the audience plays the role of the unsuspecting victim as they are confidant in knowing what is occurring, but this is what the film wants them to feel while it buries the truth under multiple layers. Focus is particularly unpredictable, but at the same time does not have a clean cut story as it's screenplay is more concerned with the surprise element rather than a smooth execution. The actual story is not as enthralling as the twists which it provides.

However, the film does indeed install an unexpected sense of paranoia in it's audience. With the methods of deception employed by the characters in order to carry out their operations, one realises how simple a theft of one of their possessions such as a wallet or phone may really be. Some of the bigger con jobs in the film are not quite as scary for the everyday person, but seeing the simplest of thefts occurring just in a jolt from a stranger is frightening enough to make you suspect everyone when you leave the cinema.

Visually Focus is absolute havoc. Editing which is attempting to appear stylish comes across as jumpy and uneven. The vast array of entertaining and fun images throughout the film are projected onto the screen with a wonderful use of colour, but the way in which these images are arranged and the choice of music to accompany them does little to enhance them. The musical score feels over used and overdramatises particular moments in the film to produce humour at undesired intervals.

The pairing of Will Smith and Margot Robbie is somewhat problematic. The two do fine jobs in their roles as individuals and are really perfectly cast as their characters. However, the lack of romantic chemistry between the two is extremely evident and makes the scenes that should be steamy between the two not so. As individuals, Robbie has the upper hand on Smith as she plays her role of Jess with greater emotional conviction. Smith still does well and remains likable throughout the film despite his downfalls.

Despite it's faults, Focus is a fun time to be had. It contains a great deal of unpredictability thanks to it's twists and turns that it can be forgiven for it's downfalls with great ease and just enjoyed for what it is.

6/10

Nightcrawler (2014) film review

Year: 2014
Running Time: 117 minutes
Director: Dan Gilroy
Writer: Dan Gilroy
Cast: Jake Gyllenhaal, Rene Russo, Bill Paxton, Riz Ahmed

Nightcrawler is now showing in Australian cinemas and is distributed by Madman Films. Now showing in the United States and United Kingdom.

Intriguing and incredibly unique, Nightcrawler is a brilliant portrait of the modern world of crime journalism and of a memorable but disturbing character by the name of Lou Bloom. With its highly intelligent and well written screenplay, Dan Gilroy's film is incredibly unpredictable and suspenseful and captures the atmosphere of the crime climate of Los Angeles, but still manages to do so in a tasteful and captivating fashion. Jake Gyllenhaal gives an absolutely superb performance of one of the unsettling characters you find creeping around Los Angeles in the night. Nightcrawler is clearly one of the best, if not the best psychological thriller of the year.

 In his own words, Lou Bloom (Jake Gyllenhaal) is a hard worker, sets goals high and is persistent. He is all these things, but he is also a mysterious and unnerving individual who has the power to make those around him believe and do whatever he wants. While seeking a new job for himself, he stumbles onto the world of crime journalism quite by accident and sets his sights on making sure he becomes the first on the scene of crimes across the city of Los Angeles. He teams up with Nina (Rene Russo), a TV news worker who embraces Lou's exclusive video footage as it gives her channel an advantage over rival news stations. It isn't long until Lou starts to realise that in order to get to the top, he needs to have some control over the world he is reporting on.

Nightcrawler is a brilliantly written and unique piece of work. It is extremely modern in it's concept as it paints an intriguing, but bleak and disturbing picture of the nature and changing face of news journalism. While the sly Lou Bloom convinces those around him that he is freelance, his lucky break comes at the hands of the relatively new concept of citizen journalism. In this age of technology where virtually everyone has access to the tools traditionally used by trained individuals to distribute news, anyone can report as the professionals do. Citizen journalism extends to individuals capturing events as they happen on their mobile phones and that footage being broadcast due to it's exclusiveness and speed. This is where Lou's adventure in crime journalism begins and with his skills of persuasiveness allows people in powerful positions to believe that he is in fact a professional rather than someone who has only decided to take up this business as a result of being out of a job and looking to make a quick dollar. He purchases a camera and mimics what he sees other crime journalists do, but also constructs the elements to make things go his way. Although Nina and her co-workers are unaware of who Lou actually is and that he is only freelance in speech to begin with, this presents one of the complexities of citizen journalism which is that its accuracy can sometimes be questioned as it is not completed by a professional.

The question of ethics in news journalism certainly also comes into play during Nightcrawler. The way the news team in the film approach the video footage which they broadcast is purely to do with how much they can show without getting sued. Their aim is to do whatever they can to beat out their rival news programs and empathy for those who are in or directly affected by the footage is non existent. Their boundaries are defined by what they are legally bound by and they relish finding loopholes in these formalities, while humanity plays very little part when working to win ratings.

Nightcrawler brings to light the ugly side of crime journalism, a concept which is traditionally not a pretty one to begin with. The film itself is driven by the startling high crime rate of present day Los Angeles, which is a feature of the city that Lou and crime journalists strive in as it is good for business. Even though the story focuses on this unattractive part of the City of Angels, the way it is depicted visually is rather exquisite. The opening sequence of the film features some of Los Angeles landmarks which are not usually associated with pop culture, but are familiar to those living in the city and are beautifully shot. For a film which is shot more at night than during the daytime, the use of colour is entrancing. The cinematography is really something special as the film calls for so much variety in the way it is shot due to it's changing pace and constant intrigue.

Jake Gyllenhaal is nightcrawler Lou Bloom in every way. Lou Bloom is an extremely complex and wildly intriguing character with psychopathic tendencies and Gyllenhaal portrays him with perfection. The film doesn't give away much about his past, but it doesn't need to as there is a strange comfort to knowing who he is only in the present. He isn't a particularly likable character, yet the audience forms a connection with him based on his intrigue and unpredictability. Gyllenhaal is truly magnificent in this role and completely embodies the creepy and manipulative Lou Bloom.

Riz Ahmed, who plays Lou's reluctant sidekick Rick, is also fantastic and connects with the audience on a more sympathetic level than Lou. Rick is a man who has made the wrong choices in life, but is trying to set things right only to find that it is not as easy as he thought, especially with a boss like Lou. He is a great deal more likable than Lou and there is a longing for him to be the hero of the story. Ahmed is believable and again, capable of evoking a great deal of sympathy. Rene Russo also does well as Nina, who is clearly struggling to maintain her strength in order to get where she wants to be.

Nightcrawler is as unsettling as it's name suggests, but in the best possible way. An exciting and suspenseful journey which makes you ponder how far people will really go for what they want.

9/10