Aliens

Language underpins everything in our society. The very pillars of communication have formed over years of linguistics evolving from society to society. All of life has a way to communicate and if one could understand the language of other living things, who knows what lies in the future. This is Arrival.

When strange large extraterrestrial ships appear dotted around the globe as if by magic, it is up to the greatest minds in the world to make contact. There's theoretical physicist Ian Donnelly (Jeremy Renner), linguist Louise Banks (Amy Adams) and there's also the best in American brute force in army Colonel Weber (Forest Whitaker). Like twelve other ship landing (or more accurately, hovering) sites around the world, they team up to try to get the life onboard the vessels to answer one question - what is your purpose?

There has been a recent resurgence of quality science fiction films, taking a strong, socially applicable concept (see the need for fuel in Moon or the uninhabitability of Earth in Interstellar), a talented cast, and a director with a bold and cohesive vision. When these elements are combined, the film makers tap into a societal nerve and make something special. Arrival is no exception. In a world where military force is the first port of call when anything happens, Arrival poses a counter argument between brain and brawn, brilliantly represented in one scene where Louise analytically dissects the question the army want to ask, highlighting the necessity of patience and learning. Here, director Villeneuve proves his range and firmly establishes himself as the next big thing, following 2013's Prisoners and last year's Sicario.

Part of the beauty is no doubt in the cast. Once you can get around the notion that Renner is the coolest leading theoretical physicist ever, everything slots neatly into place. Whitaker is in familiar territory too as the authority figure and manages to be a good middle man between the academics and the military. But this is Amy Adams' film. Her performance is intelligent and emotional and is foundational to the film. We feel the fear in her nightmares, we share the joys in her success. It may feel to some like Merck Streep stole Adams' place on the Oscar ballot this year and Arrival (and last year's Nocturnal Animals) is evidence of her talent and her worthiness of further reward.

One part The Day The Earth Stood Still, one part Interstellar, one part E.T., Arrival encapsulates everything a good Sci-fi should. It also hops around back and forth in time through apparent flashbacks and memories, all of which serve to build the climax of the film, to finally reach understanding. It's complexity in the final third causes it to stumble occasionally or drag a little too long, but for the most part it's an exciting, fresh and innovative addition to science-fiction cinema and one that will no doubt provide inspiration to keep the trend of quality sci-fi on the rise.

Vietnam Week 5: Radio

Out in the world of films there are more than a few war films. Perhaps this is because, as a species, we have so many wars. Whatever the reason is, it seems that we can never get tired of one war. The war that, if you weren't there, you can never imagine. Described by more than one solider as a hell on Earth and claimed 58,282 U.S. Solider's lives. The war in Vietnam. If you've been watching the films I've been reviewing this week, there is a high possibility you have heard a radio playing in the background of the action. If so, you have probably heard the title of today's film: Good Morning, Vietnam.

Based on a real DJ for the US Armed Services Radio station in Vietnam, Adrian Cronauer (Robin Williams), Good Morning, Vietnam tells the story of Cronauer and his 'outrageous' acts on the air. Adored by the troops out in the field but hated by his commanding officers, Cronauer balances on a fine line that is controlled by his constantly being censored and being threatened by the higher commands, Lt. Steven Hauk (Bruno Kirby) and Sgt. Major Dickerson (J.T. Walsh). However, no matter what, he always has Edward Garlick (Forest Whitaker) looking out for him, even in his endeavours to find love with a young Vietnamese girl and befriending a young boy called Tuan (Tung Thanh Tran). His commitment to constantly keep the troops laughing is harder than any mission in the actual field as he can't read the stories he wants to, play the music he wants to, or, most importantly, tell the jokes he wants to. Staying out of trouble is not easy.

Even a successful comedian bombs...
But not the same way as the troops.

For his performance, Robin Williams was nominated for Best Actor in a Leading Role at the 1988 Oscars, eventually losing out To Michael Douglas in Wall Street. Williams, commonly thought of as a less serious actor, being nominated for an Oscar. Did he deserve it? Yes, completely. What Good Morning, Vietnam does so well is it is a solid base for Williams to ramble on with his style of comedy - most of his broadcasts are completely improvised - but it also provides small, yet crucial, moments for some real heart felt acting. The contrast between the light hearted, incredible, improvised speeches and the times when Cronauer is genuinely distraught or upset is a juxtaposition that only the finest of actors can pull off with such clarity and conviction. There is not a bad piece of acting in the entire film; all the supporting cast are absolutely fantastic. The characters are all so distinctive in their personalities that the audience immediately know who to like and dislike without needing an extra half an hour for character development. Truly superb.

Williams misunderstood when people
said his mouth was too big for the mic.

What this film does that many other Vietnam films don't do is it looks far more heavily at the serving members of the military forces that have a comfy seat. While it does still emphasise the fact that there is no front line in Vietnam and anyone could be attacked, it shows that there was another side to the war that was not all grit and death. The Vietnam film with the most heart by a long shot. Not only does it introduce a love story underneath the main plot, but it also introduces the idea of true friendship and betrayal, not just comradery. It has a soundtrack full of old favourites and classic tunes to present the idea that we are like the troops, listening to whatever Cronauer decides he will play.

A perfectly simple plot that combines comedy and heart like very few films do. Not only was it funny and touching, it was also extremely enjoyable. Perhaps it is the lack of constant death, or the high spirits of the radio troops, but there's something far more pleasurable to watch in Good Morning, Vietnam than other war films. 

Best Bit? Cronauer's touching and heartfelt speech towards Taun towards the end of the film. Anger, respect, guilt, desperation, upset... All these emotions and more come out in one scene. Super. 

Dail P For Phone Booth

First let me get this out of the way. OMG COLIN FARRELL!!!! OMGOMGOMG <3

Okay that's done. Phone Booth today. Unfortunately this film hasn't always been well received! I think this is an utter shame as it is very good. Though the important critics (Empire, Elbert) gave it good reviews and it has stocked up 7.2 stars on IMBD, along come the trolls *evil look.* You know the people that don't understand the suspension of disbelief and pick holes in those little bits. Even though everything in this film is perfectly possible, be it very very unlikely at times, these trolls still complain that, 'there's no way they could've seen that coming or planned for that in advance.' The film is about a creepy genius on a phone! He's smarter than you, deal with it.

Colin Farrell, Forest Whitaker and Kiefer Sutherland's voice star in this awesome thriller. Stu (Farrell) is a cock, a publicist and trapped. After popping to the phone booth for his daily call to his young lady friend, Pam, the phone rings. On the other end of the call is a psycho with a gun and he's watching every little move Stu makes. Stu is trapped. If he hangs up, BANG! If he leaves the phone booth, BANG! What does the caller want? For Stu to admit his mistakes, to tell his wife, Kelly, the truth... Or does he? After a fight with prostitutes and a pimp, the police come and believe Stu is the 'bad guy.'

Understandably, there was a queue for Colin's love booth.

Colin Farrell is, without a doubt, one of my favourite actors. Sure he's in bad films now and then but come on! Have you seen 'In Bruges?' No? Go see it. This film also brings out his acting ability. His descent from a cockish asshole into a selfless, repentant blubbering heap is slow and phenomenal. Remember I criticised Last House On The Left because the character's decent into madness was too sudden? This is the opposite. Whitaker is also great though he doesn't really have a lot to do.. But we'll forgive that because of his role in Last King Of Scotland. Kiefer Sutherland is brilliant! His voice is smooth, calm and dripping with murderous venom. His laugh is truly psychotic and his orders are precise and controlling. 24? Pfffttt kids play for him. This is where he shines.

But alas! What's this? Joel Schumacher directed? The same person who directed Batman + Robin? But that film was awful? But this film isn't awful. Schumacher shows that he is a good director here with brilliant camera angles, amazing vision and wonderful direction. 12 days this film took to film! 12! That's amazing! But he did have a great cast so whatcha expect? Supposedly Colin Farrell got a round of applause at doing his long, emotional speech in one take. Oh and the extras didn't have scripts! Their reactions were genuine. No wonder the film was so good and had a realistic sense.

Leon didn't like Colin stealing his buisness

This film is totally worth a watch. It's only 80 minutes and is really worth it. And you can watch it again; that's the beauty of it. It's not one of those films you say, 'okay I've seen it. Never again." It leaves you wondering and you go back to watch it again.





Best Bit? "You're bringing back memories of my horrid childhood Stu, stop it! I'm just kidding. I had a great childhood." Classic