Give Ryan Gosling Some Lines, Please.

Ryan Gosling’s popularity has exploded ever since the 2004‘s lovey-dubey/schlock-fest The Notebook, yet one thing has become evidently clear; he’s a man of few words. While some may demote his career and popularity to his good looks, I think Gosling is a genuinely talented actor with “good looks”. But after the likes of Drive, The Place Beyond The Pines and Only God Forgives his performances have been summarised by his blank stares and frustrating muteness. I understand that the writers/ directors intend this as an artistic portrayal of character development, but I’m not seeing it 100%. Sure, if you read into the film as an entirety; the supporting characters, story and dialogue (what little there is), you could conclude on the rather stale constructions of his various characters. But a script goes a long way to bring personality and emotional attachment to the individual. 

The Ides of March, Half Nelson, Lars and the Real Girl and Blue Valentine demonstrate that Gosling understands and is fully capable of giving a decent performance. Lars is a thought provoking film that remains distinctly innocent and endearing even with its rather strange nature. Here he plays a socially awkward yet charming man who develops a romantic relationship with a sex doll. His delicate psychology lead to the local community  accepting “her”, in turn building their own relationships with her. As creepy as that sounds, Gosling’s character is central to the film’s success. In hindsight, his performance is in stark contrast to his recent form and roles. Playing a socially inept individual, he really drives the fragile and timid nature of his character home. The film actually spends a lot of emphasis and time on Lar’s development as an individual within the context of his relationship both with the doll named Bianca, his family and the locals. The struggles of his past, especially with his father, also are reflected in Gosling’s strong performance.  He got nominated for a Golden Globe and for a Screen Actors Guild Award for his role as Lars, yet it’s slightly disheartened to hear that hardly anyone has seen the film. 

In contrast Only God Forgives, Nicolas Winding Refn’s latest film, stars Gosling as a Thai boxing coach/ drug dealer caught in the middle of his mother’s violent search for justice. Suffering from being more “style over substance”, Gosling’s role in the film is just frustrating. While Drive teated on the edge between tedium and understanding with the long pauses and awkward stares, the film managed to still created an interesting side to “The Driver”. Only God Forgives on the other hand, fails to do anything remotely engaging as a whole. The basic sense of empathy is there for his situation, but there’s little to talk about in regards to his performance. With the lack of any real dialogue in the film’s first 15 minutes how are we supposed to connect to his character? 

Ryan Gosling’s popularity has stemmed from his confidence on screen and undoubtably his good looks. But seeing him in a more “independent circle”, has shown that he is a capable performer. While he is planning a hiatus from acting to get behind the camera, I still believe he has the capacity to become something more than a attractive dude with a blank stare. So I plead to the film industry, give Mr Gosling some more lines. I don’t even mind if he hasn’t got a shirt on, as long as he’s saying something. 

Top 11 Films of 2011

My Top 11 of 2011 

Now, ‘Top 11’ what’s that all about? Well, I’m an indecisive person and looking back 2011 was a great year to be a film ‘critic’. After frequent arduous debates with myself, I finally compiled a list that I personally feel deserves an award. Without further ado here it is:

11. From Kokuriko Hill

Yet to be released over in the West, I managed to see this on my holiday in Japan. Goro Miyazaki rectifies his less-than-impressive debut Tales of Earthsea with a more mature and realistic look at Post-war Japan. Adapted from a 1980s manga, From Kokuriko Hill’s story and characters are charmingly developed in a historic and pure setting. Great performances and personalities manage to merge well with the surrounding hustle and bustle of Japan’s economic rise in the 1960s and the incoming Olympics. Beautifully animated, 1963 Yokohama is laden with intricate details and jaw-dropping visual landscapes. And Satoshi Takebe’s flowing soundtrack perfectly compliments the artistic character of the picture, with Aoi Teshima’s theme song ‘Summer of Farewells’ that remains sewn into my brain, this is a fine addition to 2011.....or 2012 for the UK. 

(My Full Review)

10.  I Saw The Devil  

Korea has recently become a hotbed of impressive thrillers such as Oldboy and The Chaser. Kim Ji-woon’s fast-paced, violent and engaging I Saw The Devil is another to add to the growing list. Sticking to the traditional tropes of the ‘revenge’ plot, it’s a capture-and-release game between a serial killer played by Choi Min-sik and a secret agent avenging the death of his fiancee, played by Lee Byung-hun. The story isn’t substantially deep or original, but Hoon-jung Park’s screenplay constantly blurs the line between the concepts of a ‘victim’ and an ‘aggressor’ that creates an potent narrative. Meanwhile, a terrifyingly disturbing performance from Choi Min-sik outshines everyone else, as his disposition completely transforms one scene after another. It’s an amazing spectacle. Debut cinematographer Mogae Lee’s work is superb, using sophisticated camerawork and lighting to craft an immersive and atmospheric experience. One scene in particular, a 360^o  shot knife fight within a taxi, is breathtaking and certainly gives some credibility to the visual cliché. It’s a brutally tense and violent film, but one that’s exhilarating and sophisticated. 

9. Kill List 

A late addition to this list, I bought the Blu-ray version of Kill List on a whim and “bloody” loved it. Vicious, darkly humorous and unbearably disturbing, Ben Wheatley’s thriller/ horror is sure to become a British cult classic. While achieving positive critical reception, the general audience has been dramatically split over the film, especially towards the  unforgiving and ambiguous narrative. However it’s this mysterious and uncomfortable element that makes Kill List so memorable and so effective. Michael Smiley and Neil Maskell provide harsh and savage characters, but ones that manage to provide some genuine laughs and slithers of sympathy. However where this film excels is in it’s cinematography and sound design. While comparisons have drawn with the 1973 The Wicker Man and 2004 Dead Man’s Shoes, Wheatley and Laurie Rose’s visual direction perfectly construct a uniquely terrifying and unsettling atmosphere that completely descends into madness in the film’s final 30 minutes. Not since Kiyoshi Kurosawa’s Cure has a horror film left such a harrowing and speechless effect, and that’s one of my all-time personal favourite films.

8. The Fighter 

Back in March I gave The Fighter an overly impressive 10/10 and labelled it as ‘my 2011 film of the year’. Stupidly premature in hindsight, The Fighter still remains a personal favourite of 2011. Loosely based on Mickey Ward’s path to Light Welterweight champion after a tentative early career back in the late 1980s, the film reframes from becoming a “boxing film” along the lines of Rocky. Instead The Fighter focuses on the drama within the Ward family between a crack addicted brother, a fiercely protective and authoritarian mother, a band of horrendous sisters and a dimwitted “father. We experience the resulting psychological anxiety Micky and his girlfriend Charlene deal with through the unfolding and intense drama. This wouldn’t have been possible without truly impressive performances and The Fighter nails those. Christian Bale’s scrawny yet energetic Dick Eklund thoroughly deserves his Academy Award. His ability to portray an unpredictable addict while retaining an essence of charm and sympathy is a testament to his talent. Meanwhile fellow award-winner Melissa Leo is simply amazing as the villainous Alice Ward. Not to be missed. 

(My Full Review)

7. The Ides of March 

Written for Impact Magazine (30 December 2011): 

“George Clooney’s return to the director’s chair is an engrossing, well-written and slick outing. American politics isn’t my forte, but the film manages to balance the complexities of a Democratic nomination race with the treacherous affairs going on behind-the-scenes. It manages to restrain it’s intense and atmospheric nature throughout its runtime and becomes remorseless in its measured approach. Superb and fiery performances from Ryan Gosling, Philip Seymour Hoffman and Paul Giamatti culminate in raw and volatile confrontations. Giamatti’s last scene with Gosling is one of this year’s best, perfectly encompassing both the actors’ adeptness and the morality of the story. Meanwhile, Phedon Papamichael’s cinematography manages to perfectly capture the sinister and brooding narrative with his dynamic use of lighting. His skilful employment of close-up shots slowly reveals glimpses of the verity within each character’s poker faces. Expect award nominations.”

(My Full Review)

6. Drive 

Toping many ‘Best of 2011’ lists, Nicholas Winding Refn’s highly stylised film is an impressive and stunning piece of cinema. Its well-constructed story and simplistic romance  are injected with artistic adrenaline that perpetuates Drive above the standard memes of the thriller genre. While the lead performances from Carey Mulligan and Ryan Gosling feel disjointed and lifeless, Bryan Cranston and Albert Brooks are pitch perfect. However, it’s Drive’s cinematography which has added it to this list. Oozing with style evocative of neo-noir cinema such as 1968’s Bullitt and 1985’s To Live and Die in L.A, Refn’s direction is top-notch. Entire sequences filmed inside the vehicles give an immersive quality that many contemporary car chases squander. Alongside is the exhilarating and punchy sound design that adds significant depth to the visual flair. And the soundtrack isn’t half-bad too. It’s an enjoyable, slick and highly entertaining feature. 

(My Full Review) 

5. Tinker, Tailor, Soldier, Spy

Based on John Le Carré’s novel, Tomas Alfredson’s film adaptation of the British espionage story is one bursting with atmosphere and character. With a plot that perfectly balances the complex ‘Cold War’ narrative with meticulously detailed character studies, Tinker, Tailor, Soldier, Spy provides an intense and gripping cinematic experience. Gary Oldman, while no Alec Guinness (from the TV original series), puts in a solid performance as Mr Smiley, but becomes overshadowed by a phenomenally strong supporting cast. Benedict Cumberbatch and Mark Strong truly showcase the increasingly illustrious nature of British acting with profound and sincere intricacies to their performances. Stylistically, Tinker, Tailor, Soldier, Spy is rich with detail. From its delicate recreation of the 1970s’ chic, to the cold, gray environments of London and Hungary, its gorgeous to watch. Definitely one of this year’s best, and one that will undoubtable do well at the BAFTAs, hopefully. 

(My Full Review)

4. 13 Assassins 

Always a sucker for Japanese films, Takashi Miike’s samurai epic was one of the most entertaining films of this year. A homage to the jidai-genki genre and Akira Kurosawa’s samurai opuses, 13 Assassins merged strong narrative drama with spectacular action. Leaving his comfortable refuge of controversial, violent and hit-and-miss cinema, Miike’s most mainstream work shows his ability to craft a well-rounded and more “restraint” feature. Saying that, the highly visceral and gripping 45-minute battle scene is a beautifully choreographed dance of violence, swords and ferocity. It’s one of the most amazing action sequences of recent date, using real people and practical effects on such a grand scale. Meanwhile performances from Koji Yakusho and Masachika Ichimura offer strong and dramatic characters throughout the course of the film, and manage to perfectly coincide within the fast-paced third act. Gorgeous cinematography and fierce audio design means it definitely deserves to be watched on Blu-ray or the Big Screen if possible.  

(My Full Review) 

3. Animal Kingdom

Australian cinema hasn’t managed to escape the characterisations of Crocodile Dundee, Baz Luhrmann and the Mad Max franchise. However two releases this year certainly proved the nation’s cinematic capability; Snowtown but more impressively Animal Kingdom. David Michod’s directorial debut comes in the form of a grim and gritty crime drama that’s beautifully crafted and masterfully acted. Perfectly paced, Michod slowly layers the brooding atmosphere, ardent performances and sinister story, culminating in one of this year’s most uncompromising and intense films. Guy Pearce brings a glimpse of humanity into the sterile and psychologically deceptive Melbourne suburban. Jackie Weaver’s mother figure is unforgettable, while Ben Mendelsohn’s portrayal of psychopath Pope is disturbingly obsessive and genuinely eerie. Filmed beautifully, Animal Kingdom is an astonishing debut that leaves a distinctly profound impression. Definitely one of this 2011’s best.

2. Senna 

Asif Kapadia’s stunning documentary traces Ayrton Senna’s monumental path to becoming 3-time F1 World Champion. Constructed simply from a wealth of archived footage ranging from home videos to interviews, the film fluently immerses the audience in his trademark charisma and obsession towards triumph and accomplishment. Not being a fan of the sport itself, Kapadia’s superb direction culminates in a highly accessible experience that manages to illustrate the emotions, the passion and the justification for why many have an affinity for the sport and Senna’s story. With an exhilarating sound design and amazing soundtrack by Antonio Pinto, Senna is an emotional, in depth look into a phenomenal yet tragic story. Simply fantastic. 

(My Blu-ray Review)

1. Tyrannosaur

Paddy Considine’s directorial debut is a thought provoking and unsettling piece of raw cinema. A narrative that deals with themes of domestic abuse, alcoholism and animal cruelty while exploring the disturbing nature of the human condition, Considine creates an emotional powerhouse of a film. Olivia Coleman shrugs her comedic type-casting with an unforgettable performance that will hopefully be recognised at the BAFTAs. Meanwhile Peter Mullan’s vile decent into psychological self-destruction is perfectly captured, but his ability to stunningly retain an essence of empathy during these moments is sensational. Tyrannosaur’s narrative themes and stylistic look is reminiscent of close friend Shane Meadow’s work (This Is England and Somers Town), but it manages to stay fresh and beautiful in its poetic portrayal of working class reality. Tyrannosaur won’t gain the same critical attention of titles such as Drive or Tinker, Tailor, Soldier, Spy. But with its terrific performances, powerful conviction and emotional depth, its hard to not admit that its one hell of a directorial debut, and subsequently is my favourite film of 2011. 

(My Full Review)

Honourable Mentions 

Arrietty- Studio Ghibli’s take on ‘The Borrowers’ was a delightfully charming and beautifully animated production. A directorial debut by Hiromasa Yonebayashi, this is rich and elegant in colour and character, and a must-see for animation fans. 

(My Full Review) 

The King's Speech- Great piece of British drama entwined with perfect performances from Geoffrey Rush and Colin Firth. Cinematography is excellent, but I can’t help but think that it’s slightly over-rated.

Black Swan- Visually and dramatically intense, Darren Aronofsky’s latest film is an unforgettable experience. Natalie Portman’s performance is certainly award-winning, but a totally overblown third act really hurts the film.

Snowtown- Another perfect export from Australia, and another film with an uncompromising rawness and disturbing reality. If you liked Animal Kingdom, I’m sure you’ll enjoy this. 

Attack The Block- A little gem of a film, Joe Cornish’s directorial debut comes in the from of an ambitious alien invasion, in the middle of a London council estate. Genuinely funny and engaging, Attack the Block is an entertaining and surprisingly well-acted and shot feature. 

Submarine- Richard Ayoade’s debut is a delightful coming-of-age film. Leaving a unique and charming impression, Submarine is a quirky and well-acted piece of ‘indie’ cinema. 

Confessions- Suffering after re-watching numerous times, Nakashima Tetsuya's very 'Japanese' thriller is still a stunning piece of cinematography. A darkly dramatic and sophisticated story, shocking characters and personalities, and great music come to foem one of this year's most memorable and beautiful pictures.

(My Full Review)

The Ides of March Review

The Ides of March  

George Clooney’s forth time directing a feature film comes in the form of The Ides of March. Named after Julius Caesar’s death in the hands of Longinus and Brutus in 44 B.C, this American political drama delves into the shady and ruthless nature of politics. After his somewhat average Leatherheads back in 2008, Clooney comes back in full force with a superb cast, smart script and slick production values. 

The plot follows Stephen Meyers (Ryan Gosling), a campaign advisor for Governor Mike Morris (George Clooney) during the race for the Democratic nominations. Over confidence and ‘inexperience’ begins to show cracks within Meyer’s semblance. His sexual relationship with Molly Stearns (Evan Rachel Wood), an intern, suddenly brings his life crashing down to an extent that sees him question his loyalty to Morris and his personal ideals. The Ides of March’s story isn’t a complex one, but neither is it a simple one. While personally not interested in the subject of American Politics, the film never feels too out of reach or inaccessible. Inevitably some of the terminology and political systems isn’t necessarily understandable to a relative novice, but that never became the focus of the narrative. Instead, Clooney concentrates on the behind-the-scenes drama and sly dealings between politicians, campaign advisors and interns. And he does it brilliantly. Twists and turns, paranoia and betrayal all provide a story that constantly engages. There are some minor issues such as the introduction of the romance between Molly and Stephen that, while is pivotal to the plot line, never becomes as effective as intended. As well as Marisa Tomei’s journalist story-thread that fails to materialise during the course of the film. Neither compromise the drama and aren’t related to the acting, but rather the faults in the generally smart script and structure. 

In relation to performances, The Ides of March is full of perfectly cast personalities and memorable individuals. Ryan Gosling grows in experience with each film he’s in, and he really puts in strong show here. Arguable too ‘cool’ to be believably involved in a political campaign, his character is constantly conflicted between his job and his personal ambitions and convictions. There’s a ‘two-faced’ nature to him that never becomes over-the-top or too subtle. It’s a well-balanced performance that is delivered with confidence and charm. Philip Seymour Hoffman who plays Paul Zara, Senior Advisor to Morris, does a terrific job too. His calm and collected exterior breaks down in a split second after revelations from Stephen. It’s a powerful ‘transformation’, clearly indicating the stakes and complexities which Gosling’s and his character are engage in. Meanwhile, Paul Giamatti is simply outstanding as a rival campaign advisor. His devious and somewhat uncomfortable grin, really encompass the treacherous nature of the political race with his last scene being the film’s best. George Clooney himself is cleverly not the main character of the film. The likeable and confident image in front of the media, turns to a dark, weathered and almost fragile presence when betrayal and secrets emerge. The weakest individual is Evan Rachel Wood’s. Her character is slightly distorted and this transpires into her performance. She’s underwhelming and seems far too forced to gain the emotional attachment Clooney’s story requires.

Phedon Papamichael’s cinematography is visually pleasing and really encapsulates the moody and sinister events of the film’s narrative. Shadows, while used predictably, add extra atmosphere to tense confrontations, creating a sense of insecurity and covertness. The camera work is great with the prominent use of close-up shots focusing on characters eyes and the framing of faces. There’s a stylistic choice that uses an idea of a ‘pokerface’, as each character’s smooth exterior is symbolised with their stern/ serious countenance, meanwhile glimpses of verity are shown through eye movements, smirks and leers. However the generic styling of modern political dramas becomes all to evident and obvious. There’s a distinct lack of colour, with an almost monochrone look. The persistence use of red, white and blue of the American flag, while realistic in a political campaign, is far to overdone and becomes slightly crude and tiresome, losing it’s justification. 

Overall, Clooney’s The Ides of March is engrossing, dramatic and tense. While certain plot elements don’t have the strength and capability to fully establish themselves, the film is still slick and well-written. The generic nature of political dramas still lingers but is over-shadowed by terrific performances and high production values. Expect a few Oscar nominations. 

8/10