RespawningCouch Podcast: Audio Review: Zero Dark Thirty

Better late than never, I review  Zero Dark Thirty and attempt to comment on the controversy the press has thrown up...... sort of.  

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Lawless Review

After an aggressive marketing campaign, Lawless hits screens with a rather mixed reception. An adaptation of Matt Bondurant’s novel The Wettest County in the World, the film is essentially a “biographical” action/drama that saw itself nominated for 2012 Cannes Film Festival’s prestigious Palme d’Or. With a star-studded cast consisting of Guy Pearce, Gary Oldman and Tom Hardy, and with director John Hillcoat (The Road, The Proposition) at the helm Lawless showed some initial promise. Yet in reality it’s a film that struggles to build and develop its story, characters and themes in an engaging and memorable methodology.

Set during the Prohibition period of the 1930s, the film follows the Bondurant Brothers; Forrest (Tom Hardy), Howard (Jason Clarke) and Jack (Shia LaBeouf), a notorious and brutal family of moonshine bootleggers. However the arrival of Special Agent Charlies Rakes (Guy Pearce) not only puts their illegal operations in trouble, but their lives. Lawless’ main problem is its writing. Nick Cave’s adaptation of Matt Bondurant’s novel lacks substance and depth towards both the film’s characters and the plot. With a story dominated and centred around the three leads, the script fails to establish anything profound about them, their brotherhood or their “war” against Rakes. For the majority of the film, Shia LaBeouf’s character arch takes precedence. Yet even his unoriginal  ascendence from whinny “rookie” to whinny, wannabe macho isn’t a sophistically told or realistically evolved narrative. The introduction of Jessica Chastain and Mia Wasikowska merely serves to further add to some pretty faces to the sagging second act with forgettable romances that fail to develop from Hillcoat’s use of montages. On the whole, apart from the so-called “legend” surrounding Hardy’s character, there’s nothing captivating or engaging with any of the trio or the story, which is a completely no no for a “biographical” tale. 

The sheer talent on offer surprisingly culminates in no actor or actress truly standing out and impressing. Shia LaBeouf puts in his standard delivery in a performance that really requires someone with a lot more screen presence and diversity. Tom Hardy’s rather indistinguishable accent and bashful personality is the most interesting character, yet he suffers from the lacklustre nature of the script. Jason Clarke is forgettable in a role that requires little from him except his fists. Meanwhile Guy Pearce offers the polar opposite from his fellow leads in an over-the-top performance that tries too hard to fill the role of the antagonist in a film consisting of unsympathetic and unpleasant personalities. As for Gary Oldman, his top-billing culminates in approximately 7 minutes of screen time that feels rather pointless in hindsight. Along with the rising stars of Chastain and Wasikowska, its a real shame that the writing dilutes the impact of the entire cast.

Visually Lawless fails to do anything interesting with its period or Virginia setting. Hillcoat’s previous film The Road succeeded in portraying an post-apocalyptic world, desolate and deranged through impressive cinematography and set locations. Here, apart from the extreme violence, that really adds nothing artistically or thematically, Lawless lacks any visual flair, to the point that CGI is even used to enhance pyrotechnics. The environments are recycled in numerous scenes giving Lawless a noticeably small scale. Even the soundtrack can’t escape its generic nature with cliche folk songs, and rather mistimed and mismatched musical accompaniment in various scenes. 

Overall Lawless is a mildly entertaining film that is undoubtably hindered by its writing. It’s a shallow affair that fails to build on its brief moments of intensity and magic, and to take advantage of its very capable cast. Disappointing. 

5/10

Coriolanus Review

Coriolanus 

Recently nominated for a BAFTA, Ralph Fiennes’s directorial debut comes in the form of Coriolanus, a modern adaptation of Shakespeare’s classic tragedy. Fiennes has had a strong and substantial stage career surrounding Shakespeare’s numerous works, so there was no doubt over his performance. However the choice to adapt Coriolanus as his first directing role is an interesting and brave one. The play itself isn’t the most recognisable work and with a growing reluctance for many to indulge in cultured cinema, its 16th position on the weekend’s Box Office was inevitable. Nevertheless, Fiennes’ first attempt is one that is compelling and filled with emotional dexterity and vigour. 

Set in ‘Rome’, the film follows the growing war between the Romans and the Volscian forces. Rome’s populous has become more aggressive towards Caius Martius Coriolanus’ (Ralph Fiennes), an accomplished, humourless general, political accession. Party opposition gains the support of ‘the people’, and mobilises against Caius culminating in his downfall and banishment from Rome. Vengeful, he forms an alliance with Volscian’s leader Aufidius (Gerard Butler), and orchestrates an invasion on the capital. Shakespeare’s tragedy is a relatively straightforward and engaging tale, never straying too far from the usual tropes of his work. Fiennes changes the period and the ‘costume design’, but keeps the narrative largely the same where it’s themes of social frustration and instability feel topical. Meanwhile, the ‘swords and sandals’ Siege of Corioles is substituted for visceral, modern shoot-outs that manage to settle nicely into the political drama. The script itself keeps the dynamic and sometimes cryptic language of the original source material. While initially feeling out-of-place in the modern context, the interchanges soon become natural and coherent. 

The film’s cast is one with incredible prowess, both experienced and young. Fiennes’ own performance is phenomenally intense and powerful. From his fierce exclamations to subtle hints of emotional fragility, his stern man of valour is one filled with rage, an emotion he excels at portraying. Equally impressive is Vanessa Redgrave’s portrayal of the autocratic mother, Volumnia. Dressed in military uniform, she delivers her lines passionately and with conviction, culminating a breathtaking scene in the final act. Brian Cox, Jessica Chastain, and James Nesbit also offer a fantastic supporting cast that manages to leave a lasting impression even with Redgrave’s and Fiennes’ substantial presence. Gerard Butler even manages to provide a memorable performance as the bearded, muscular leader of the tribal Volscians. 

The Hurt Locker and United 93’s cinematographer Barry Ackroyd captures the film’s tense drama and action. From the battle scenes to the numerous confrontations, Ackroyd creates a sophisticated picture. However the use of handheld cameras in certain scenes destroys the poignancy and atmosphere, and a problem with camera focus definitely becomes all too noticeable. Meanwhile the sound design is good, while the soundtrack unfortunately never makes itself apparent. 

Overall Coriolanus is a fierce and well-executed adaptation of one of the ‘lesser’ known Shakespearean works. It’s clear that Coriolanus doesn’t strive to be an grand epic, but rather constrains itself to its ‘ordinary’ locations and rightly focuses on the torment and emotional complexities of each character. And it does that spectacularly. Great performances, engaging story and a sophisticated look, Ralph Fiennes’ debut is a fantastic start to his directing career. 

8/10