Revenge is Best Served Cold

This years Oscars seem to be a year of survival films. Both Mad Max and The Martian had the theme of survival at their core but neither even come close to today's film. Today's film takes the survival theme and stretches it to its very limits. This is The Revenant.

Hugh Glass (Leonardo DiCaprio) and his son Hawk (Forrest Goodluck) live on a settlement with a fur-trappers. When their hunting party is attacked by a local tribe of native Arikara Indians, they have to flee to try and make it to a safe outpost. Led by Captain Andrew Henry (Domhnall Gleeson) and accompanied by John Fitzgerald (Tom Hardy) and Jim Bridger (Will Poulter), the group venture out towards safety but on route, Glass gets separated from the others and mauled by a bear. Despite the freezing winter, the others rescue him and carry him between them on a stretcher. However, after being slowed down by the burden, Glass is eventually left for dead and buried alive when Fitzgerald tricks Bridger into thinking they are about to come under attack, forcing them to leave Glass behind. But Glass fights to survive and he has one sole intent - to get revenge on Fitzgerald.

Leonardo DiCaprio as Hugh Glass

The Revenant is, very simply put, Leonardo DiCaprio's film. Not only is the film almost entirely focused on Glass' fight to survive, giving him a huge percentage of the screen time, but it is also a testament to DiCaprio's acting ability. Not that this was ever in doubt, but after several roles that involved a high amount of physicality and volume (see The Wolf of Wall Street), his performance as Glass pushes him to his limits. Glass, for a good majority of the film, can hardly move or speak, and yet DiCaprio brings such life to an almost lifeless character. Tied down to the stretcher, completely incapacitated, his constrained facial expressions and muffled grunts tell a more detailed and developed narrative than whole films managed in 2015 (see Pixels). Despite this, DiCaprio is surrounded by a stellar supporting cast, Tom Hardy in particular. There is something nasty about Hardy's Fitzgerald but, at the same time, terribly endearing. He is intelligent but brutal, dishonest but authoritative. He has superb survival instincts but is only out for himself. Hardy encapsulates this and creates one of the best antagonists of the year.

Tom Hardy as John Fitzgerald

The Revenant is an epic adventure from start to finish. It opens with an absolutely astonishing set piece, the camera tracking through the carnage of battle, following one hunter until their death, then another then another. We adopt the camera's viewpoint and stumble through the fighting in confusion but also never looking away; we even plunge underwater with Will Poulter's Bridger as someone attempts to drown him. Alejandro González Iñárritu uses similar techniques to his Best Picture winning Birdman last year, albeit in shorter supply, to drag us into the gritty realm of survival. But is it any surprise with someone as talented as Emmanuel Lubezki (Birdman, Gravity, Children of Men, The Tree of Life) behind the camera that The Revenant excels in its visual story telling. Bookended by two incredibly shot scenes of fighting, The Revenant does almost as much in how it portrays its narrative as what it is portraying. The long shots of the wilderness tell us its great expanse, the long takes tell us the relentlessness of the struggles faced.

Without a doubt the most gorgeous film of the year, but perhaps also the grittiest; the true story it is based on is not even as brutal as the film's depiction of the events, but Iñárritu and Lubezki really capitalise on their visual art form and make something truly memorable.

I'll Huff And Puff And Sell You Stocks

Despicably wild sex, Drugs and Money. Is your eye caught yet? Well this true story about stock brokers has all of the above. Really? Stock brokers? Yes. This is The Wolf Of Wall Street.

Jordan Belfort (Leonardo DiCaprio) is a young confident stock broker. Fresh to the floors of Wall Street, he is ready to make money. Briefly mentored by (Matthew McConaughey) before the company they work for goes under, leaving Belfort out of a job. However, the discovery of how much money can be made through penny stocks inspires him. Within no time, himself and his partner, Donnie (Jonah Hill), have more money than they know what to do with. Was it all legal? Well, as the trailer tells us, absolutely not. But with a several serious drug addictions, especially Quaaludes, an obsession with sex, a model wife, Naomi (Margot Robbie), and an FBI agent, Patrick Denham (Kyle Chandler) surrounding his daily life, who can help but caught up in a roller coaster of a rock and roll life style? It is time to beat your chest, hum, and make some money.

Belfort discusses phoney accounts with his partner. 

DiCaprio at his finest is a difficult expression to use, especially here, for two reasons. Firstly, when is DiCaprio not at his finest? He is one of the modern greats and has been since he first appeared on the silver screen, so it really goes without saying that he is 'at his finest'. Secondly, Belfort is such a disgusting person that 'fine' is never really a term that can be used to describe him, especially when he is drooling and slobbering from his drugs. However, it is DiCaprio's fantastic performance that perfectly balances Belfort's horrid nature with enough charm and charisma to make us sympathise with him. In someone else's hands, Belfort could easily have become a monster, which would have cleared a lot up for those who thought that the film glorifies Belfort's actions, but who wants to watch that film? The ensemble around DiCaprio, too, are excellently cast. Hill, as Donnie, uses the acting skills he showed in Moneyball and his famous drug-loving comedy persona in one character to hilarious effect, creating a truly loveable character, despite the law-breaking and things. Robbie, as Naomi, connects brilliantly with DiCaprio's Belfort but at no point does she become like the other women in the film - dependant on men and money. She is a loving mother as well as a (mostly) strong woman, fully in charge of her sexuality. (Helen O'Hara writes excellently about the women in the film for Empire Online.)

When you are rich, you can eat, literally, anything you want.

Scorsese has changed a lot over the years, but perhaps the last two years show the biggest jump. Hugo, the film for the children, to The Wolf Of Wall Street, the sex, drugs, and greed based adaptation of the memoirs of a multi-million dollar criminal. But what a jump it was. Scorsese's clever condemnation of all thing Belfort, and on grander scale, the whole of Wall Street, is a packed three hours that draws to light the problems of living life to the full and the corruption that greed can cause. Combined with Terence Winter's screenplay, we are let into a world that most of us will never experience. The world with too much money. But we are shown how it can destroy a soul as it did Belfort. This is never glorification of Belfort's lifestyle, but rather an experience of it. We simply tag along for the ride whilst Scorsese takes us on a trip, excuse the pun. With an incredible use of the soundtrack, which jumps between emphasising a scene and completely juxtaposing it, The Wolf of Wall Street oozes its gritty yet charming atmosphere out into the world and you cannot help but get sucked in with it.

The film is like the cocaine that Belfort snorts. It hypes you up and when the high it causes is over, you will be begging for more. One of the few films that runs around three hours that you would want to watch again straight after. The ensemble are magnificent and Scorsese is back on his best form. Not for those who dislike foul language. There are 506 uses of the varieties of 'fuck', as well as every other curse word under the sun

Best Bit? There are plenty of moments, but DiCaprio and Hill are revolutionary in a sequence that involves driving high and wrestling over the phone. It is one part hilarious, one part horrifying, but most of all, DiCaprio provides some of the finest physical acting in recent years. 

Jay-Z And Gats-B

The Great American Novel, not just any novel, made into a film more times than you can shake a stick at. All the directors share the common goal of representing a piece literary brilliance that is in the international cannon on the big screen. A film that could well be called the holy book of novelists. It is The Great Gatsby.

Nick Carraway (Tobey Maguire) is a young man who once had dreams of being a writer but fell into the money filled land of Wall Street - hard life for some. He moves from Chicago to New York's fictional West Egg, next door to a mansion that is home to the elusive and mysterious Gatsby (Leonardo DiCaprio). He also has a cousin living in East Egg, Daisy (Carey Mulligan), married to sports star Tom Buchanan (Joel Edgerton), who introduce him to the land of New York through their friend Jordan (Elizabeth Debicki), parties, and trips to the valley of ashes, where Tom's mistress, Myrtle (Isla Fisher), and her husband, George (Jason Clarke), live. Eventually Nick meets Gatsby at one of his infamously huge parties after hearing many rumours about him. Soon Nick befriends his neighbour and discovers Gatsby's romantic past with his cousin. This begins to create a conflict in simple ol' Nick and the world around him transforms into a dream like reality; but whether it is a nightmare about to happen or not is yet to be seen.

The gardeners at the Buchanans' tend to be referred to as field agents.

Let us kick things of with the wonderful performance given, of course, by the actor constantly in the Academy's blind spot, Leonardo DiCaprio. As Gatsby, DiCaprio is always going to be pinned as the 'main' character due to the title, but in terms of performance, that is just what he is. His full range is shown in Gatsby from charming and full of life, to heartbroken, empty, or furious. Gatsby is soul that keeps everything disguised by huge parties and false lives and DiCaprio absorbs the character, showing his knowledge of the role. Unfortunately, he is the single bright light shining across the bay. A slightly smaller light is Edgerton, who portrays Tom well, understanding his rough but calm nature, and managing to juxtapose that with the more emotional moments in the latter half of the film. The rest of the cast are all 'almost there'. Admittedly, Jordan and Myrtle, two important characters, are hardly given the time of day by Luhrmann, leaving Debicki and Fisher little to work with. Maguire does seem to grasp some form of Nick's character, but only one aspect: confusion at everything. The world Nick is introduced to is indeed strange and new, but only at the very end does Nick seem anywhere near aware of what is going on around him. There are many close ups of his bemusement. Mulligan, a wonderful actress, simply does not command the space in the way it feels Daisy should do. At the start she is a flirty young woman, drawing any male in with a look of her eye, but as the film progresses, she just becomes an addition to Tom or Gatsby's arm. Given little chance to talk above a murmur and very static in many scenes. Of course, the finger of blame could be pointed mostly at Luhrmann, but he already has a lot to answer for.

Green Screen? What green screen?

Why would Baz Luhrmann, director of Moulin Rouge and Romeo and Juliet, possible have to answer for anything? There is no issue with the film almost physically dripping in his unique style, though the editing at times can be distracting. No, the problems are most other things, primarily, the need to highlight anything and everything. Through Nick's constant narrating, the audience are informed (sometimes several times) of the actions that are happening or have just happened on screen. 'I went to Gatsby's' says Nick whilst walking to Gatsby's. But not just narration. Those of you who are familiar with the novel will surely know how symbolic it is. For example, the large billboard depicting the eyes of Dr. TJ Eckleburg, many literary analysts will tell you, symbolise the eyes of God watching the actions. They are always there. But now, imagine Baz Luhrmann sitting next to you, prodding you, shouting, 'SEE THAT BILLBOARD? THAT REPRESENTS GOD! DID YOU SEE WHAT I DID THERE?' There are many other examples but what the biggest fault of the film is, is assuming that all the viewers are imbeciles incapable of deciphering the action or meaning of what is being presented on screen. Whilst visually engaging, the way in which everything is presented just feels off. Take the soundtrack. Sometimes, the gentle covers of hip hop songs fit nicely into the 1920's but then a car passes by, champagne flowing (product placement galore), and seemingly is blasting out Jay Z. The music often does not fit. Sometimes it does. Hit or miss.

Visually captivating and, at times, emotionally consuming. DiCaprio holds the whole film up, and his chemistry with the other characters on screen makes everything that little bit better. A fun filled two hours but also a bit like a party that ends a bit early. Things are a bit mad, but because of that you missed all the exciting stuff and when it is revealed, the party is over, and you no longer care. An unsatisfactory film that will disappoint fans of the book but will no doubt entertain the less pedantic members of the world.

Best Bit? The big conflict between Tom, Daisy, and Gatsby, when they are isolated and alone. The editing slows down, the tension rises, the climax is fully engaging and enjoyable. The Hotel Plaza is clearly the place to be.

 I saw this with my good buddy Jack. Naturally, we dressed for the occasion. 

Slaves, Death, And Other Happy Topics

Westerns. The word that makes most people think of grainy movies made in the sixties and seventies somewhere in Europe and dubbed in American; probably starring John Wayne, Clint Eastwood, or Henry Fonda. We think ponchos, ten gallon hats, Native Americans, saloons, bank robberies, Mexican stand offs, the quick draw. We rarely think Germans and shiny blue suits. Well today’s film might change that. This is Django Unchained.

German bounty hunter, Dr Schultz (Christolph Waltz), frees young slave Django (Jamie Foxx) to help him be his temporary partner in order to track down the Brittle brothers, three men who had previously been in charge if Django and his wife, Broomhilda (Kerry Washington). The two bounty hunters form a bond as Schultz teaches Django how to present himself in public and be a master with a gun. Django, with only natural talent for the job to offer in return, becomes Schultz full time partner over winter, and they plan how to free Broomhilda from plantation owner, Calvin Candie (Leonardo DiCaprio). Candie is famous for breeding 'Mandingos', slaves who fight one another to the death with just their hands for the owner's amusement and betting purposes. Schultz and Django pose as traders of Mandingos looking for a slave to take back and fight in Europe. Their plan is to purchase one of Candie's best Mandingos and also Broomhilda, seeing as she is just a meaningless slave, so that she may be reunited with Django again. But Stephen (Samuel L. Jackson), Candie's loyal house slave and foreman trustee, does not trust Django for one second; something about a black man on a horse tickles him the wrong way and he is determined to find the bounty hunters' plot.

Candie was such a successful plantation owner
because he was always ahead of the competition.

There is a possibility that Tarantino has a supernatural gift in terms of his ability to perfectly cast a film, except  one character - but we will come to that. Despite Django being specifically written for Will Smith, Jamie Foxx adapts to the role without even a shadow of a doubt. He is effortlessly cool and he portrays Django's range of emotions, sometimes without saying a word. In his eyes you see the pain, the sadness, occasionally the happiness that Django would feel. DiCaprio's first outing as the antagonist is one of his most succesful to date. How he did not get nominated for an Oscar is beyond me. Acting so well to the extent that when he actually cuts his hand in a scene, he carries on to the horror of his cast mates. Incredible. Tarantino describes it as 'mesmerizing.' Christoph Waltz, needless to say, is outstanding. Nominated, rightly, for an Oscar, his second one under the direction of Tarantino. This is a team that works together. The comic relief of the film, but also the plot driving centre, along with Django. His character is complex but Waltz makes it seem effortless. Another brilliant performance. But the real stand out is Samuel L. Jackson. Not an Oscar performance, but the character that induced the most reaction from the audience. The reaction of hatred. Stephen is such a slimy character with a superiority complex that just makes him detestable. Superbly portrayed by Jackson. Horridly enjoyable.

The newest Django meets the oldest Django in a quick cameo.

On to the man behind the camera. Quentin Tarantino. This is a man who turns out hit after hit and Django is no different. Incredible shot, as all westerns are, with a soundtrack to die for. Funny and heartbreaking. Fitting action that suits all adrenalin needs. It is clever, it is strong, it is slightly controversial. It is simply all encompassing. That being said, the film is not flawless. It is just a tiny bit too long. Only minor cuts need to be made, just to take out the smallest sensation of, 'we have aaagggeesss left,' or, 'this film is soooo long.' It's only a slight feeling of 'too long' but it's there all the same. Not a huge issue, but an issue nonetheless. Secondly, and more irritatingly, is Tarantino's own appearance in the film. Normally a welcome addition to his films, but here, in his peculiar attempt at an Australian accent, something just is not right. He is next to impossible to understand and it completely jars with the rest of the film entirely, considering the rest is so well acted. Again, a small mistake that just takes something away from the film. But apart from these two small, irritating issues, Tarantino is in full stride.

A great film. Pretty much exactly what you would expect from Tarantino, Django Unchained is hilarious, action packed, touching, and down right cool. Some fantastic performances and a killer soundtrack, combined with some amazing cinematography pushes Django above the competition. Not Tarantino's best, but it is up there.

Best Bit? The scene with the early KKK complaining about their bag-masks will keep you laughing for ages after the film has finished. Plus, a great little cameo from Jonah Hill.

Insertion.

Some of you may ponder my title choice today. I shall explain. The opposite of extraction is insertion. So why Christoper Nolan called his movie Inception is a mystery.

If you didn't guess I'm finally getting round to reviewing Inception; an all round excellent movie. It stars some of my favourite actors, (Cillian Murphy, Leanardo DiCaprio, Michael Caine, Joseph Gordon-Levitt, Ellen Page) and is directed by the incredible Christopher Nolan. Now, if for some reason you didn't recognise that name, you have issues. Christopher Nolan directed the reboot of the Batman series and has placed The Dark Knight in many people's 'Top Ten' lists. And if you haven't heard of that.. Then I truly feel sorry for you.

With gun and spinning top in hand, Leo can take the dream world.

The plot of the film is complex but please don't let that put you off. Professional 'thief' Dom Cobb (DiCaprio) and his partner, Arthur (Gordon-Levitt,) are offered a job. But instead of the usual job of stealing they must place something. An idea. Yes they work within the subject's dreams instead of their reality; extracting ideas or, in this case, inserting one... Inception. Japanese business man, Saito (Ken Watanabe,) wishes for rival company, Cobol Engineering, to be gone and asks Cobb to place an idea in Robert Fischer's subconscious. The idea? To destroy his fathers company. Cobb gathers a team to place the idea, despite Arthur stating it's impossible.

A film full with awesome action sequences but also a clever plot which contains philosophical underlining. (Don't worry. Those underlinings are just for intelligent people. If you feel you just want to watch an action film this is still for you.) It's nice to see a completely original film in this world of remakes, reboots and sequels. It's not just a unique plot either; the fight sequences and car chases are truly new and fresh, (mainly cause in the world of subconscious you can plow a train down the middle of a street..) The special effects are spellbinding and some of the acting is outstanding (Check Joseph Gordon-Levitt playing the serious character.)

The hype for this film had the actors bouncing of the walls.

There's funny moments and sad moments. There's thrilling moments and calm moments. There's WTF moments and 'Oh I get it' moments. There's basically something for everyone.

Also, here's a fun fact for your amusement: This is the third Christopher Nolan movie in five years in which Cillian Murphy has spent a significant amount of screen time with a cloth bag on his head.

So worth a watch.. In fact a must-see. Don't miss it. You'll regret it.




Best bit? Joseph Gordon-Levitt's fight scene in a spinning hotel corridor. (He did his own stunts that scene don't you know.) Oh and BRITISH DIRECTOR!

Till Death Do Us Departed

This is my 20th post. Should I do something special? Nah.

The Departed. Starring two of my favourite actors and directed by one of my favourite directors; it's gotta be good.

Jack Nicholson is my favourite actor of all time and even at 70 he still rocks this film. Playing Irish mafia boss Frank Costello, he shows that he hasn't lost his triple Oscar wining talent. I can't imagine anyone else playing this part especially considering his part was heavily improvised, (which made some classic moments.. Throwing coke on prostitutes... Wearing a strap-on to the cinema.) He is a weirdo. Leonardo DiCaprio was also amazing starring as a police rat in Costello's mafia. A lack of a real identity drives him mad but he keeps with his job. A man with a identity complex pulled from side to side and portrayed amazingly.

You're doing WHAT at the moment?

Matt Damon is another rat but he's inside the police working for Costello.. Confusing? He's also suburb and highly underrated. He struggles between keeping his secret and keeping his girlfriend happy while trying to find out who the rat in the mafia is. Mark Wahlberg was incredible and really deserved his Oscar nod the angry cop who runs the ship, hates Damon's character and loves his job. Also worth a mention are Vera Farmiga and Alec Baldwin in smaller but equally amazing parts.


In case you haven't guessed, every actor was magnificent. As was the direction. Martin Scorsese is one of the best directors of all time and he continued that reputation with 'his first film with a plot.' Don't even get me started on the soundtrack. It was so brilliantly used. The sudden cuts, the choice of songs... It's all so good. The camera work is stunning. Everything is just awesome.

"What drink should I have with my breakfast? Wine? Coffee? OJ? Tea?"

The action keeps you on the very edge of your seat and the emotional moments/ breakdowns are emotional. The plot is complex yet understandable. The acting and direction are amazing. It's just an amazing film. Watch it.

Best bit? The nail biting finale. All the way to the last second.