Reviews

When leaving the cinema after seeing Derek Cianfrance's The Place Beyond the Pines, my mind had to reconnect with reality after being completely immersed in this film of epic scope, creativity and ambition. The Place Beyond the Pines is the reason I love movies, and is without a doubt one of the films that's going to be right up there with the very best, come the end of the year.

Of course the film isn't without its faults. The film does overrun its running time and the film's third act doesn't quite reach the heights of the first two, but the movie's pure ambition is what makes you forgive and adore it even more. The film runs across two decades with a trilogy of stories about characters whose lives intersect and clash from both sides of the law. We begin in the nineties where Luke, a lowly stunt-biker (Ryan Gosling) working for a travelling circus finds out that he has a son by his former lover, Romina (Eva Mendes). Desperate to prove himself as a provider to his new-born child, he turns to robbing banks which sets in motion a collision course with a rookie cop, Avery (Bradley Cooper).

Cianfrance's second feature film is a joy to watch; the direction, cinematography, writing and acting are finely tuned, delivering the audience an emotional and evoking masterpiece. It's a film which dares to take sharp, shocking turns, surprising you but nonetheless hooking you in more and more; eager to see where it's all going. Two confident leads in Gosling and Cooper guide the film through with the help of a strong supporting cast. Gosling borrows a sense of that brooding characteristic he had in Drive and throws it in with a character whose desperate to ensure that his child has a better upbringing than his own. Meanwhile Cooper plays an ambitious cop and like Luke, a newly father whose disheartened with the uncertain hero status cast upon him once colliding with Gosling as he finds himself surrounded by a corrupt system lamented in that of Deluca (Ray Liotta). As I mentioned the third act doesn't quite hold up to the first two, but nonetheless offers interesting ideas. The sons of Luke and Avery end up crossing paths which leads to exquisitely interesting situations and exchanges between the two, which you'll see the whole picture of when you watch the movie.

Derek Cianfrance has constructed a crime epic; a story of fatherhood told from both sides of the law with fantastic performances, wonderful direction and a musical score by Mike Patton that will send shivers up your fingertips as your immersed in this rich world. When films like this are released, it reassures me that the film industry is still going strong – it maintains the artists who craft engaging and gripping epics which will linger with us long after the lights rise up in the cinema and we're journeying home, contemplating on what we've seen. The Place Beyond the Pines is an enthralling film experience.

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In his directorial debut Paul Andrew Williams gave us an impressive, gritty and bleak crime film, London to Brighton – a film shot in just 19 days on a budget of £19,000. In his latest work he goes on the complete other end of the spectrum to deliver us a heart-warming comedy-drama, Song for Marion. When looking at its exterior, most would easily jump to labeling it a sentimental film which it's one motive is to get you blubbering. It certainly succeeds in getting you to shed tears, but this is through the film's well developed relationships between the characters, especially that of Marion (Vanessa Redgrave) and Arthur (Terence Stamp). Marion is terminally ill and is cared for by her grumpy husband, Arthur – he reluctantly helps fulfil her wishes to attend local OAP choir sessions headed by a young music teacher, Elizabeth (Gemma Arterton). But of course as Marion's health begins to fade, Arthur finds himself becoming more and more desperate about the inevitable prospect of being alone without his beloved wife. This prompts him to become more involved in the choir's sessions, which builds up to the group's entry into a national choir competition – a beat very much in the vein of the 1996 film, Brassed Off.

The on-screen chemistry between Redgrave and Stamp is heart-wrenching; it's hard to fight back those tears as the two comfort one another during Marion's final months. But it's when Arthur finally confesses to Marion that he's scared about being without her that I finally let the tears subside – it's just beautiful stuff. Redgrave's singing performance of True Colours and Stamp's final belting delivery of Goodnight My Darling will also leave you and the theatre audience in a quiver of snivels. But on the side there is very funny and touching moments with the choir themselves which mix in well to not make you an emotional wreck for the majority of the film. Christopher Eccleston is effective on the sidelines as Arthur and Marion's son who struggles to bond with his stone-walled father. I felt Eccleston was slightly underused, but nonetheless enjoyable in the scenes he had; meanwhile Arterton is sweet and caring as Elizabeth, who tries hard to break down Arthur's cold exterior in order to get him involved with the choir.

This is a splendid British picture – Paul Andrew Williams proves here that he can tackle pretty much any genre, and if you take a look at his other genre films, you'll see that the man certainly has the knack – He's done horror, crime and now a beautiful British comedy-drama. The performances are splendid, the comedic and teary moments are balanced perfectly – but ultimately what makes the film work is that it doesn't try to break you down into an emotional wreck, it merely presents its characters in situations; bonding, caring and helping one another through the tough times. This is the kind of British film we need more of – you'll be walking out of the cinema with a warm smile on your face.

Hitchcock is all good and well – it's fun, and sure it's entertaining; but if you're looking for an in depth look into the psyche of the man himself, Alfred J. Hitchcock; this film won't quench those thirsts. I am yet to see the controversial 'other' Hitchcock film, The Girl – which depicts Hitch as being almost a sexual predator. But here we are nonetheless with Academy award winning, Anthony Hopkins playing the sardonic filmmaker who at this point in his career was very much at the top of the pecking order in Hollywood and could have chosen anything to direct, but instead went for a little novel based on the real life serial killer, Ed Gein.

The film follows Hitchcock's attempts to get the film made, which today many regard as being one of the most influential and ground-breaking horror films ever made, Psycho. Also in the picture is Hitchcock's long suffering, yet loyal wife played by Helen Mirren who is tested by the challenges ahead to support her husband as his latest venture could be make or break to his career. The two leads enjoy a nice chemistry and manage to keep the film afloat whilst the rest of the picture almost seems to dash over many aspects of Psycho's production and the private lives of Mr. and Mrs. Hitchcock.

And for me, here lies the main issue I have with the movie – it's very shallow in its attempts to try and get inside Hitchcock's psyche; all we really get is some surreal sequences where Hitchcock's quirky attitudes and supposed obsessions with his leading blondes are shown through dreamlike meetings with the serial killer, Ed Gein – it's a very cut and dry attempt to simplify the inner workings of the man himself. This could have almost been a television movie, and at times it feels that way; but don't be thrown off by that, this doesn't at all mean you won't get enjoyment from the film – it's just a shame that the director, Sacha Gervasi didn't try to go that one step further by giving us a real deep insight into one of film's most important figures.

The supporting cast are loose strings around the main focus of the film, but nevertheless James D'Arcy and Scarlett Johansson as Anthony Perkins and Janet Leigh, get the job done in the small parts they have. The film certainly plays around with liberties and is by no means accurate, but it's a light hearted fare showing a filmmaker who thinks he's lost it, triumph against the reluctant studio executives. Go in for light entertainment, some polished performances – but nothing more; this is by no means the definitive depiction of Alfred Hitchcock, but will we ever get that definitive depiction? Unlikely – the only people, who really knew the inner feelings of the man was Hitchcock himself and his wife Alma Reville. Just as with the material shown in his movies, Hitch would always remain a mysterious and alluding figure.

Gritty, tragic and visceral are the words that come to mind when thinking about This Sporting Life, which is my favourite British movie. Uncompromising in its depiction of the north in the 1960s, yet so enthralling, that's it's hard to take your eyes away from the screen. It's the definitive 'kitchen-sink' drama with the powerhouse performances of Richard Harris and Rachel Roberts.

The film follows Frank Machin (played by Richard Harris) who is lucky enough to escape life working in the mines to become a town hero for its rugby league side in the gloomy locales of Yorkshire. Despite being adored for his battling performances on the muddy pitch, his fame and fortune doesn't buy him the affection of his brittle and reserved widowed landlady, Margaret (played by Rachel Roberts).

This Sporting Life failed financially on its first release despite being well received critically; but due to its poor box office performance, the British New Wave movement came to a sudden halt. Producers decided that audiences no longer wanted realist films, but instead escapist entertainment. There were the odd flickers in the late 60s with films like Kes, but ultimately the movement inspired by the French New Wave was to fade away as the James Bond and Carry On pictures took their place.

The film does not present fairy-tale endings or blossoming romances; it's hard-hitting and complicated entanglements between the characters on screen that make the film engaging from beginning to end. When watching the film and analysing its scenes depicting domestic disputes and in particular the rugby matches, it's easy to see where Martin Scorsese was inspired for elements of Raging Bull with the visceral depiction of the sport involved and the heated and uncomfortable domestic disputes that the film entails.

Richard Harris is simply fantastic as Frank Machin; a man who desperately tries to fit in and prove himself to Margaret. One such scene displays Machin's caring side as he takes Margaret and her children out to the country for the day; this is where we're introduced to his gentle and caring side, a side which appeals to Margaret – but still she knows the violent nature that will always rumble within him. Rachel Roberts earned her second BAFTA and deservedly so for her part as Margaret, the landlady who rents Frank a room and continuously rejects his sexual advances until he forces himself upon her in one of the film's most uncomfortable scenes. After submitting to Frank she becomes accustom to giving into him throughout the remainder of the film until she reaches the boiling point of no longer baring being referred to as Frank's slut by her neighbours. It's these final confrontational scenes between the pair that really explode with both Harris and Roberts tearing up the screen with their wonderful performances, which make for gripping viewing as the film charges towards its harrowing ending. The visuals in This Sporting Life are gorgeous with the grey of Yorkshire providing a perfect backdrop for the film.

This Sporting Life is the quintessential British film packing high-calibre performances, wonderfully shot rugby scenes and beautiful scenic visuals. Lindsay Anderson's film is unsettling, gripping and by no means light-hearted; it's social realism at its most visceral, which in no way out stays its two hour and twenty minute run-time. Currently ranked by the BFI as being the 52nd Greatest British film; it certainly deserves a higher placing in my opinion, as well as a wider exposure to modern audiences who I'm sure will be surprised by how well this film has aged – This Sporting Life is a glorious and gritty British film which I shall always treasure.