The Cold War in Warm Rooms

The Cold War. Courtroom Drama. Spies. Individually, these elements have each produced some great works of cinema. We make think of Dr Strangelove or A Few Good Men or even Skyfall, but what happens when you take these three aspects, roll them all together, and put Spielberg behind the camera? This is Bridge of Spies.

When Rudolf Abel (Mark Rylance), a Russian spy, is captured by the FBI, it is extremely important for the image of the United States of America that he gets fair representation at trial and therefore someone must be appointed the lawyer for the most hated man in America. The lawyer that gets appointed is James B. Donavan (Tom Hanks), an insurance lawyer, and he has to convince the country not to kill his client. His argument begins to hinge on the notion that, should it be required, Abel could be used to trade for any similarly captured Americans. When a U-2 spy plane and its pilot are shot down over Russia as well as an American student getting arrested after crossing the Berlin Wall, suddenly having Abel alive becomes an appealing idea.

Abel (Mark Rylance) and Donavan (Tom Hanks)
 in the court room

Over the years, Tom Hanks has developed from a loveable young, romantic comedy star, into a serious award winning actor, and then into some sort of friendly and yet exceptional everyman. He continues that trend here in Bridge of Spies. Donavan is a family man who works in insurance and he is suddenly thrust into an extraordinary  situation and Hank's performance reflects this. He is charming yet firm and powerful. He is warm and loving, yet determined and authoritative. It is a hard balance to strike, but not for someone as accomplished as Hanks. Rylance, already an established presence on the stage, is the standout performance here though, and the film rests on this. The success on how the audience engage with the film's narrative is dependant on how they relate to Abel. As the soft spoken Russian spy, Rylance is absolutely delightful and, despite being a traitor to the United States, we root for him and against the American government.

Tom Hanks as Donavan's world begins to change

Spielberg's influence over Hollywood is vast. Year after year he makes brilliant, award-winning films. With Bridge of Spies, he continues in excellent form, but the film is undoubtably improved and made whole by Joel and Ethan Coen's tinkering with Matt Charman screenplay. In a film that is centred around talking and negotiating, the Coens pump life into a dialogue-heavy second act. They bring warmth to the Cold War in the form of Hank's Donavan, though never letting the intensity of the situation slip away. Accompanied by small yet spectacular set pieces, brilliantly captured by Spielberg's camera, the film's visual construction sometimes says more than the Coen's words ever could. A gentle foot chase through the rain, a train carriage of staring faces, a snowy and still Glienicke Bridge scattered with shadowy figures.

Whilst there are dips in pace, Bridge of Spies seamlessly combines several genres and exhibits some of the finest performances of the year. It also proves that Spielberg may not be revolutionising the cinematic world with the likes of Jaws and E.T., but he has not lost any of his film making power. 

Emancipator Of The Slaves.

Who does not enjoy a good history? You know those ones with the cool teacher who did awesome impressions of famous historical figures? The one who made learning fun? This is the film equivalent of that and is the most nominated film of this year's Oscars. This is Lincoln

Abraham Lincoln (Daniel Day-Lewis) is at war with the south. The film opens with two of the North's soldiers commenting on how inspiring they find Lincoln to the man himself. But his wife (Sally Field) and head of state (David Strathairn) are slightly less pleased with him as he pushes for the Amendment that will abolish slavery to be signed earlier than recommended. Fearing that they will never will win enough Democrats over for the fast approaching vote, a select few Republicans set about convincing those close to the fence to support their side. The most notable of these campaigners is Mr Stephens (Tommy Lee Jones) who has been fighting for equality for half his life. But with the war going on in the background and chances for peace becoming visible  will Lincoln sort his priorities out?

After all his speeches, Lincoln was a little horse.

A huge ensemble cast that is made up of some of the most talented individuals in film. People like Lee Jones, Day-Lewis, Gordon-Levitt (lots of double barrelling). But without a shadow of a doubt, Daniel Day Lewis does more than steal the show; he creates the show, he makes it what it is. It is rare to see an actor so lost in their character that, if you did not know Lincoln was dead, you would easily believe this was a documentary. But there is more than that. So often historical characters, particularly political ones, can be so dull with their technical jargon and boring job. But Day Lewis makes Lincoln so likeable that it is physically impossible to find him uninteresting at any point. Listening to his voice is often soft like honey. A truly masterful performance. His supporting cast are also brilliant, namely Sally Field and Tommy Lee Jones, also both nominated. The former as the mentally troubled wife of the president, the latter as, what can only be described as, the bad cop of the Republican party. He is uncompromising and unconventional but his rough persona is so extremely captivating that you fully support what he says and does, despite his handling of situations being less than text book.

'Summer you say? Ah, I'm sure she was a wench.'

Spielberg, as always, is on top form. A perfect blend of history, education, heart, soul, and comedy, Lincoln is a little different to the directors normal material, which is not a bad thing. John Williams’ (again) fantastic score is less evident than in the directors other works, and while Spielberg is no stranger to historical accuracy, Lincoln feels different. More like a self-congratulatory pat on the back for himself after all the years of research he has put into making something that is not only entertaining, but also educational. A true rarity in cinema these days; a captivating watch that also teaches a story that is vital to American history and also the history of equality. Not only this, but somehow, he has made what is, at its core, a film about men voting and little else, extremely enjoyable for a whole two and a half hours without any feel of it dragging. Excellent directing.

A film that is like being in school but way more fun. Proof that accurate storytelling and historical politics can be really pleasant to watch on a big screen for over two hours. Who would have thought? A gem of the biopic genre and likely to take home more than one award.

Best Bit? Seeing Daniel Day Lewis and Joseph Gordon Levitt interact as Lincoln and his son Robert was a piece of amazing acting that hits a timeless theme of the pain of parenting - something everyone can relate to, albeit from different sides of the spectrum. 

From Book to Stage to Screen 1: The Oscar

As well as this Oscar special thing I've got going on, I thought I'd mix things up and add a second special. Today is officially 'From a book to a stage show to the screen day.' Personally, it's my favourite holiday. The first film we're looking at today has been nominated for six Oscars including Best Cinematography, Best Score, and, obviously, Best Picture. It relies entirely on animal performances and a protagonist who has only ever been in a low rated T.V. series. Not exactly the making of a Best Picture film.

The story, however, is exactly the sort of thing the Academy love. If you're unfamiliar with it, allow me to enlighten you. Albert Narracott (Jeremy Irvine) lives on a farm with his mother, Rose, (Emily Watson) and his father, Ted. (Peter Mullan). Times are rough and they're in need of a new plough horse. Ted heads to the market to buy one and puts a bid in for a complete unsuitable horse. However he gets involved in a bidding war for the creature with his landlord and slight rival, Lyons, (David Thewlis) and wins with the bid of 30 guineas. Rose is furious at his decision but Albert takes responsibility for raising the horse and claims that they will be able to plough their extremely rocky field. Albert names the horse Joey and they bond instantly. They overcome plenty of challenges together but Ted still can't pay rent. As World War I comes around, Ted sells Joey to the army, much to Albert's argument. Joey goes off to the front line in France under the care Captain Nicholls (Tom Hiddleston), and seems to bring out the human nature of everyone he encounters. Albert swears that they will be reunited again and as the war continues, Albert also goes to the front line, but long after he last saw Joey. But that doesn't mean they won't fight to find one another as well as protecting those around them.

Trying to teach a horse to samba was more difficult than expected. 

Fine performances from the entire cast. It was nice to have so many familiar faces pop up throughout the film. Actors such as Benedict Cumberbatch, Tom Hiddleston, and David Thewlis all provide small but needed inputs to the overall film. Young protagonist, Jeremy Irvine, put in a great turn as Albert and is probably the most understandable and developed character in the entire movie. We don't just see him raising a horse and going to war, we see him grow up and become a young man. Plus, if his relationship with Joey - or anyone for that matter - wasn't convincing, the whole emotional spine that the film is built on, would be crushed. The real stars of the film are most definitely the animals. 14 horses played Joey, but the main horse was called Finder. As well as Joey, there is Topthorn; a large black horse who is essentially the closest thing to a friend of Joey's. These two horses have a better on screen relationship than many humans in other movies. This seems to be the year for animal performances with these horses (and a goose) as well as the dog in The Artist.

Albert always had a thing for cloth. 

Now, this film is absolutely beautifully shot. The way Spielberg flicks in between intimate moments between characters and wonderfully epic panning shots across a wasteland of  war is flawless and sensational. However, here's where the film drops. The score was also epic and, while at times, very fitting, it lacked the country heart that I so felt it needed. On top of this, there was never really enough time for any massive character developments. I feel there was way to many superfluous shots of unneeded action which could have been time spent developing characters. Particularly towards the end, a lot of characters decisions or changes of heart seemed too sudden and therefore unbelievable.  The only other thing that frustrated me was the choice to not have the German or French characters speak their native language, but just with accents. (Which sometimes slipped anyway.) This wouldn't bother me so much as it is a family film and kids don't want to read subtitles, but I admit I got frustrated when orders were given in German by a man who had just been speaking English. It's either one or the other Mr. Spielberg. Make your mind up.

Overall a good film. There are moments of absolute genius and moments that aren't. There are particular scenes that stand out miles above the rest due to small factors. (Such as the lighting in the final scene.) And yes, I did well up every now and then. A film that is suitable for all the family and has a strong, decent narrative. It's easy to follow and easy to be absorbed into.

Best Bit? My personal favourite moment was the Cavalry's first charge in enemy terrain. The way the horses rise out and burst forth from the field was cinematic gold.

A Boy, His Dog, A Drunk, and Some Treasure

This is not your normal comic book adaption. There are no super heroes, no amazing gadgets, and no Marvel or DC. Just a boy, his dog, and a drunken sailor. Finally it's time to see Hergé's classic comic on the big screen and with such a fine cast and crew behind it, what could go wrong. Let's talk about The Adventures Of Tintin: The Secret Of The Unicorn. (Woah, mouthful!)

Tintin (Jamie Bell) and his dog Snowy innocently buy a model boat at a street stall. Suddenly, the boat receives a lot of interest from a couple of mysterious men. Intrigued, Tintin keeps a close eye on the boat... Until Snowy knocks it to the floor. Inside the mast is a secret message. A clue. Clearly this is what one of the mysterious men was after as the flat is broken into but the clue remains safe. Tintin teams up with Captain Haddock (Andy Serkis) and foolish inspectors Thompson and Thomson (Simon Pegg and Nick Frost respectively) To unveil the secret of the Unicorn before Ivanovich Sakharine (Daniel Craig).

There's no witty caption here. Just look at how wonderful that CG is.

Now this cast would be outstanding in any live action movie, and it’s just as spectacular in Motion Capture. It is important to remember that this is motion capture and not animation.  They’re not just voice actors, they’re actually acting. And yet, not a single character seems too much like the actor playing them. If you weren't aware which actors were in the film, you wouldn’t be able to tell. Try to tell the difference between Simon Pegg and Nick Frost, I dare you. Daniel Craig is also superb. At no point did I realise that it was him who played Ivanovich Sakharine. Andy Serkis is absolutely hilarious as Captain Haddock. Only once did his comedy seem to dip into ‘dumb humour’, (Burping into a plane engine in order to keep it flying.) but that's a writing issue... I literally have no complaints about the acting in this movie.

Visually, this film caused my jaw to drop like no film has since Avatar. The very first shot of a person’s face caused a communal intake of air from every person in the cinema. It was simply breathtaking. And the transitions between scenes were completely flawless. Not only that, they were stunning. I've never been so captivated by a scene change. Even the opening sequence was a treat for the eyes. A miniature Tintin adventure as the creative teams names float around the screen. On top of all these things, the movie contains action sequences that rival any big scale blockbuster and they'll also make you laugh until it hurts. The first of two notable examples is a city wide chase sequence. There are bazookas, tanks, floods and a hell of a lot of chaos, and all in a single shot! The camera never cuts away from the action. The second incredible action sequence comes in the form of a flashback to the days of pirates. The story of the unicorn. A battle involving two ships with action on a scale to match, and beat, battle scenes in any Pirates Of The Caribbean films. I was in awe of this scene. The fire jumped off the screen, perhaps due to the 3D, and every single gun shot or cannon fire made me hold the edge of my seat. The whole scene is cleverly re-enacted later using cranes. You'll understand. I don't want to put any spoilers. And all that with just over half the budget for Avatar.

Captain Haddock thought he was in his favourite movie, North by Northwest and was overjoyed

Directed by a man considered a legend in the film making world and produced by an man of equal stature. Both Oscar winners, Steven Spielberg (director) and Peter Jackson (producer) know what they're doing. Hegre was even quoted to say that he believed on Spielberg could do Tintin justice. Personally, I have very few criticisms of this movie. My only big one being that it was too short (even at 107 minutes). Fortunately, there is going to be two more movies, so that's good. I laughed my socks off and was completely hypnotized by the picture. Sometimes, jokes did fall flat and admittedly, snowy was a better detective than Tintin at points, but the movie is a major achievement. I highly suggest it. However, I can't find myself able to give it the full five stars. It misses something. I'm not sure what.

Best bit? Personally, the battle between the two boats was just so outstandingly done I have to say that. It was simply stunning as well as incredibly exciting.