Computers Won The War

The biopic. The film that dramatically portrays the life of a true person. This stage of fame is only reached by the truly revolutionary. From Johnny Cash to the Queen to Jesus, those figures who influence our world are almost doomed to be immortalised in film; better hope the film that does it is not a flop! This is the story of a man whose great successes were secrets until after long after his death - Alan Turing. This is The Imitation Game.

War in Europe has broken out for a second time. The Germans communicate through coded messages, encrypted by an Enigma machine. The machine is programmed daily to a different setting making it nigh on impossible to crack the messages. One secret team are hired by MI6, and other military personnel to attempt to beat the Enigma, and amongst that team is Alan Turing (Benedict Cumberbatch) who believes that the way to beat a machine, is with a machine. As the war death toll mounts, the Germans March forward, and the war seems never ending, the pressure mounts on the Enigma team, Beat the Enigma, end the war.

'Pass me an Alan key'

With a character who, in a simple description, would sound so close in personality to Sherlock (egotistical, incredibly intelligent, slightly autistic, closet homosexual), it would not be an unfair assumption to think that even Benedict Cumberbatch might struggle to bring originality to Turing and separate himself from his most famous role. However, these doubts are misplaced as Cumberbatch is completely absorbed by his performance of Turing. Together with a Keira Knightley at her best and a powerful supporting ensemble, The Imitation Game hosts some of the finest acting of the year. The cast all provide genuine and moving performances that depict some of Britain's brightest minds in a dark era of history, telling the tale of the men (and woman) that helped to win the war.

The team were having a cracking time.

With a emotionally driven screenplay, The Imitation Game tugs at many heartstrings but ultimately it is a story of hope, a story of success, and a story of the brilliance of humankind. But it is more than this. The film is a thriller through and through which rattles along at a captivating pace, adding puzzle to puzzle with a constant clock to beat in a life-or-death war setting. Morten Tyldum's direction with Graham Moore's screenplay is a match made in heaven and with such a strong cast, The Imitation Game moves from success to success. Whilst those who are more aware of the historical scenarios surrounding Turing's solving of the Enigma Code may find issues with the accuracy and some moments feel a bit forced to emphasise a point (the realisation that there will be decisions on who to save is an example of this), but the film's merits well outweigh its flaws.

A moving picture that tells the stories of one of the most important discoveries in military history. Captivating from start to finish (though sometimes a bit muddled in its presentation), The Imitation Game is a must see.

Best Bit? When the team find the link they need to decrypt the code, anyone who does not have a shiver down their spine as they put into the machine is possibly soulless. 

Django In Chains

History is a wonderful beginning step for film making. There is undoubtedly something truly exciting about experiencing the past in a visual medium, happy or sad. The latter emotion is definitely more prominent in many historical films, like today's film. This is 12 Years a Slave.

Solomon Northup (Chiwetel Ejiofor) is a free black man, a talented violin player, and a loving father and husband. He lives a simple life until, one day, he is kidnapped after two men offer him a job playing violin. From his kidnapping, he is sold into slavery (by a horrible Paul Giamatti) to the gentle and respectable Ford (Benedict Cumberbatch). But things go from bad to worse when sadistic rancher Tibeats (Paul Dano) starts to have it out for Northup, now called Platt, leaving Ford no choice but to sell him on again, despite the bond they have formed. This time Solomon ends up with brutal Edwin Epps (Michael Fassbender) and befriends Patsy (Lupita Nyong'o), a young slave girl hated by Epps' wife (Sarah Paulson) and sexually abused by Epps. Based on Northup's own memoirs, 12 Years a Slave is an unrelenting and horribly realistic portrayal of slavery.

Swag: noun - The above photo.

Ejiofor, who reportedly originally turned the role down, is on top form in 12 Years a Slave. His portrayal of a man who has his life destroyed so completely and so quickly is devastating and yet always hopeful. From his first signs of resistance - I don't want to survive. I want to live - all the way through his torturous ordeal in slavery, the viewer is forced to remain as strong as Solomon. Northup only breaks occasionally, normally trying to make the best of his surroundings, but when the emotions rise, Ejiofor's ability truly shines through. A master of both subtlety and the explicit. Matching him is the glorious Nyong'o. As Patsy, she shows she capable of an incredible range of performance, especially for her feature film debut. Unlike the bigger, more explicit characters like Fassbender's Epps, Dano's Tibeats, or even Ejiofor's Northup, Patsy is introduced as a quiet reserved girl around the greatest horrors in the world - rape, violence, even being disallowed to clean. Nyong's subtle pain, inner sorrow, and plain emptiness is heart wrenching, to say the least. Also of note is Fassbender's Epps. A truly horrific man that forces his slaves to dance for him and he takes what he wants, primarily Patsy. He holds nothing back, giving a true punch with his performance, sometimes literally.

Epps just loved to show off his guns...

Steve McQueen, of Shame and Hunger fame, is not known for his easy viewing. His films say something, and it is not nice. Sexual addiction, starvation, and now, slavery. Teaming up with John Ridley, McQueen brings something painfully real to the big screen. Northup's ordeal was a historical event and, even if details have been changed, that realism is constantly reminded you that this actually happened. McQueen brings it to life brutally, emphasising moments that are designed to make us, the viewer, uncomfortable. A horribly extended hanging scene whilst the normal ranch life continues in the background, a whipping scene where the camera does not cut for around four minutes, a stunned silence after a vase is thrown directly into a slave's face. These moments are engineered by McQueen and his team to highlight the horrible nature of human kind. It is not trying to guilt trip white Americans, it is not placing blame, it is simply demonstrating monsters as they are. It is story telling in its purest form: powerful and completely unforgiving.

A moving piece of cinema that tells the tale of hope and humanity. The way Steve McQueen shows the true horror of the slave trade is forceful but unbiased. It is simply truthful story telling. One of 2013's finest achievements in film.

Best Bit? Certainly the most memorable moments are those that force discomfort in the viewer. The whipping, the hanging. Such power and next to no dialogue needed.

Daq HurghtaHghach

Sequel to an extremely popular reboot, today's film looks back to where it originated. Bringing back famous characters, nerdy languages, and adding a sprinkle of dashing British acting talent. It makes sci-fi sexy (or upholds sci-fi's sexy reputation) and throws in plenty of action, jokes, and lasers. It is Star Trek Into Darkness. (Yes, the title of this blog is in Klingon.)

After a bad decision on a mission, even though the choices he made saved Spock (Zachary Quinto), Captain J. Kirk (Chris Pine) is removed from his position of captain of the Enterprise. But, after an attack from within Starfleet, he takes his ship back and, with his crew, he goes on a manhunt to track down the man responsible. In risking everything by heading to the Klingon homeworld, a chase throughout the whole of space begins.  The attacker (Benedict Cumberbatch) raises Kirk's interests in the secrets of Starfleet leaving the crew of the Enterprise in the middle of an inner conflict: do they stick with their commands or trust a killer in order to uncover the truth?

Baddie in a glass prison. A great, unique idea.

Into Darkness, like its predecessor, is truly an ensemble piece of film making. Where is Kirk without Spock? Where is Chekov without Scotty? In the same way the characters work together, the cast work together, making it impossible to draw any of the Enterprise's crew out above the others. Whether you look at Spock's honest moment on descent Qo'noS, Sulu's aggression in the captain chair, or Kirk's bravery and selflessness in order to save his crew, they all have aspects that make them great. Cumberbatch as the big baddie is fantastic. To say he is the star of the show might be a bit of an exaggeration over the wondrous crew of the Enterprise, but he certainly brings a whole new level to the film. Bouncing brilliantly between being likeable and detestable, he is epitome of a charismatic killer. A very internet-generation friendly antagonist - a little bit sexy, evil, but completely likeable. See also: Loki.

Ship's a wee bit small, isn't it Cap'in

The issues with the film are small on the surface but comparatively huge. Some forced emotion here and there can always be a problem, but not enough to influence the entire film. However, there are some writing issues that need to be pointed out. The main problem comes from a single scene. When Kirk realises that everyone in a room is in danger, he decides he is to shy, awkward, or embarrassed to mention it. When the authorities finally get it out of him, they twiddle their thumbs for a little bit longer despite knowing the imminent danger. It is the scene that spurs forward the entire film but could all be avoided if anyone acted like a normal human. This is not the only issue in terms of writing. The second major issue, but tiny in terms of the overall film, is a moment of pointless sexism. It is like the creators sat down and said, 'hey, we should have a smart independent female character. But let's cast her as a really hot girl and get her naked for no reason.' More annoying than bad writing; the film tips its hat to a lot of the old series but the liberal world we live in now has no place for gratuitous nudity. Female's like Sci-Fi too, let us not target it only to lonely teenagers.

Apart from some needless or stupid moments in the writing, Into Darkness is a thoroughly enjoyable thrill ride. No thinking is required, a true summer blockbuster. Wonderfully exciting, lots of tributes to the original series to keep old fans entertained, and great acting throughout.

Best Bit? Sulu's speech to the now cornered attacker of the Starfleet bases followed by Bone's wonderful, 'Mister Sulu, remind me to never piss you off.' Brilliant.

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.

Tinker Tailor Soldier MOLE!

I'm back ladies and gentlemen! Have you missed me? Probably not. Well here I am none the less. And I return with a movie hailed as a modern masterpiece! But is it? Let's break this down. It's Tinker Tailor Soldier Spy.

So what is it even about? In the most simple of descriptions, it's a spy thriller. Set in 1970s' London during cold war hysteria, the movie tells the story of the struggles within MI5 and MI6 after a disastrous mission in Budapest, Hungary in which Jim Prideaux (Mark Strong) was shot. This fiasco causes Control (John Hurt) and George Smiley (Gary Oldman) to leave the Circus (the name given to the top ranking members of the service) but Control is under the impression that there is a mole within the Circus. After Control passes away, Smiley comes out of retirement to try and catch the mole. The four remaining members, Bill Haydon (Colin Firth), Percy Alleline (Toby Jones), Roy Bland (Ciaran Hinds) and Toby Esterhase (David Dencik), were all considered suspects by Control, as was Smiley. With the help of Peter Guillam (Benedict Cumberbatch) Smiley sets out on finding the mole.

At the MI5 library, they have boxes, not books.

As far as casts go, this one is incredible. The finest British actors all in one movie and all of them provide exceptional performances. the stand out role for me is definitely Benedict Cumberbatch. Not only does he have the coolest name known to man, he's also a damn fine actor. My favourite scene in the entire movie contained very few words, just Cumberbatch working his way through a library where he should not be. It'll keep you on the edge of your seat the whole time. Gary Oldman is also superb. There is not a bad word to say about that man. When you've starred in both Batman and Harry Potter, you know you're on the road to success. This is his finest performance in recent years and I'll be damned if he doesn't at least get nominated for best actor. The rest of the support are outstanding. Another particular mention to Tom Hardy as Rikki Tarr, a rogue agent who has a bit of a scuffle at one point with Benedict Cumberbatch.

And yes, the IMDB.com forums are full of arguments. They are always bound to be when you release a movie classed as a spy thriller and it's not action packed. Don't be mistaken, this film is long. It is not a James Bond type spy thriller. It's a sophisticated, intelligent, whodunit. The whole film is an investigation and for the film to reach it's potential, you have to think about the evidence shown to you and try to figure it out yourself. Director, Tomas Alfredson, isn't known for his fast paced movies. That's not his style. His previous film, Let The Right One In (reviewed here) was a vampire movie that was beautiful. He tells a story and he tells it well.

And of course, let's spare a quick word for the more technical elements. I love the way this film was shot. The formerly mentioned library scene, another tense scene involving a plane landing. The latter scene in particular was wonderfully shot. A still camera shot as the propellers got closer and closer. The soundtrack was subtle and perfect. The style of the film, the dark, cold way in which it was shot really emphasises the notion of the cold War. The depression, the fear and the anxiety. Technically, this film was outstanding.

Colin's rendition of 'I'm a little teapot,' didn't go down very well with The Circus

'But Phil!' I hear you cry, 'What do you think of the film as a whole? You sound like you loved it.' I enjoyed it, yes. I don't feel I can go as far as other critics and claim it's perfect or that it's a masterpiece. It is a very well made film. However, the very slightest distraction can make you lose the entire plot. Need to run to the toilet? You're going to have a lot of thinking to do. It is also very slow. I found myself making jokes too often in an attempt to make the movie more interesting at points. I say points because it truly is a fascinating movie and you should see it. But you need a decent attention span. Personally, I'd prefer to watch Let The Right One In over this, but that's just my personally preference.

So in a nutshell, pay a lot of attention, you'll love it. Get distracted easily and you won't understand what is happening and therefore you're unlikely to enjoy it. And unfortunately, I just can't find myself able to give it a fifth star.

Best Bit? As I have already mentioned, Benedict Cumberbatch's tense trip to the library.