Ex_Machina

Ridley Scott’s 1982 film Blade Runner addressed the question of whether computers, or robots, could ever have the capacity to think and act in a way that would make them indistinguishable from human beings, potentially even considering themselves to be human. In 1982 mobile phones were on the horizon, but Artificial Intelligence was not a common place occurance. Now though, Artificial Intelligence is everywhere. Just ask your phone. I’m sure Siri or Cortana have a witty response ready for you. However, autonomous, decision making AI is yet to make an appearance and may lead to the end of humanity. Just ask SkyNet. Or maybe don’t…I like not being hunted down and made extinct by Arnold Schwarzeneggar.

Ex_Machina revolves around a young programmer (Domhnall Gleeson) who is selected to participate in a breakthrough experiment in artificial intelligence, evaluating the human qualities of a female A.I. There are only three lead characters and all the action takes place on 3 main sets, all in one house. It is by no means a novel idea to explore these themes, but the way in which it is presented and teased out enables the viewer to follow the logic clearly, assessing simultaneously the questions and the responses. Alex Garland, directing his debut picture, wrote the screenplay. It can be philosophically dense at times, but is always engaging. It was no surprise for me to learn that he had also written screenplays for 28 Days Later…, Never Let Me Go, and Sunshine, all interesting films that ask deeper questions than the superficial plots suggests.

Ex_Machina really has more in common with a play than it does a Science Fiction film. Static sets, often with exchanges between just two characters allow the themes in the dialogue to take centre stage and give space for the viewer to ponder what it is, quintessentially, that makes us human. Could a computer ever truly show, experience, or understand emotion? Could it envy, manipulate, or desire?

These are meaty roles for the three leads. Oscar Isaac shows why he is so highly sort after as the creator and billionaire software guru Nathan. Clearly burdened by his own greatness, Nathan has retreated to his estate in the middle of nowhere to drink and continue researching A.I. technology. He is ably supported by Domhnall Gleeson’s Caleb, who initially fawning over his techno-idol, evolves as he becomes increasingly obsessed with the nature of what he has been presented with. With that said, the standout performance must be that of Alicia Vikander as Ava. Playing a self-aware android does not look easy, and yet she amalgamates the characteristics of a young child, a curious teen, and a cunning adult to ultimately chilling effect.

On a side note, good films can be a fantastic medium to aid teaching in the classroom, as well as distracting pupils if, like Cameron Diaz in Bad Teacher, you have a thumping hangover to address. This is because they deal with interesting issues, portraying philosophical and ethical ideas in a vivid and engaging way, miles better than I ever could. I couldn’t help but think the whole way through how useful this movie would be to introduce concepts in teaching the philosophy of mind and psychology.

I would love lots of people to go and see this movie. Not only is it very good, and one of the more intriguing films you will see this year, but it is always great to support smaller, independent films, before they all but disappear in the wake of Transformers 15 and Avengers: Here we are again to save the world…again.

My verdict:       9/10

Go see this if… you like a cerebrally engaging film; you want to see what Siri would look like in human form.

Give it a miss if… and only if, you absolutely have to.

Give it a miss if… and only if, you absolutely have to.

Kingsman

It seems that many people in the movie industry are fixated on including as much graphic violence as possible in the running time of a movie to almost cartoonish levels, blurring the boundaries between Tom and Jerry and Grand Theft Auto. Matthew Vaughan, the director behind the excellent X-Men: First Class, and Kick-Ass, has sadly continued in the vain of his less impressive sequel, Kick-Ass 2, with Kingsman. Whereas Kick-Ass proved to be a humorous, comic book style middle finger to those blood and guts films that take themselves too seriously, Kick-Ass 2 revelled in its chance to go all out, with slow-mo deaths and decapitations in tow. The parody became the very thing it was mocking. Pointless violence for the sake of it.

Despite this, Kingsman was a rather enjoyable caper satirically ripping off classic Bond and spy movies, subverting the genre where it could. The dialogue was witty, the suits sharp, and the villain suitably 21^st Century. I am now convinced that velvet smoking jackets are the greatest things since I discovered the chicken nugget. I must have one. The characters are well drawn, especially Samuel L Jackson’s Valentine, who is everything technology naysayers and fearmongers profess is in our future, and even more – evidently, our mobile phones will indeed one day kill us all, but we will be used as the weapons. Also, I thought it a nice touch to make Valentine incapable of dishing out any violence himself. A child-villian for the playstation age, playing games at arms length, detached from the acts themselves. It was a great coupe to land Colin Firth in the lead, using every ounce of his suave, middle-class, Darcy-esque range, and he is ably supported by some of the best British talent, in previous Vaughan collaborator Mark Strong and the evergreen Michael Caine.

The most interesting dynamic was the relationship between the posh, well spoken Firth, or Agent Galahad, and the protagonist, the earthy, gritty (dare I say chavvy) Eggsy. Of course, there was lots of class related banter, with the middle class lampooned and stereotyped as unwelcoming, old and stuffy. However, what caught my attention most of all was Galahad’s advice to a young Eggsy concerning the nature and importance of being a gentleman. Just because you were born with a “silver spoon suppository” as Galahad eloquently summarises Eggsy’s barbed comment, does not mean that you are a gentleman. Neither does being born in a London council estate, mean that you are not. It is an attitude. It is an appreciation for those around you. It can be learnt. And, yes, it is often quite simply being polite. This is a message that many of today’s young men fail to grasp, feeling lost in their situations, burdened by pressures from parents and friends, blaming others instead of looking inwardly at who they are, at how they act. Forgive me if this seems classist, that is by no means my intention. Wealth and situation do not stifle or breed manners, but manners certainly maketh the man.

There is enough in this film to keep you entertained and amused, but this brand of comedic hyper-violence is no longer shocking, and to be honest, I felt like it had all been done before.

My verdict:       6.5/10

Go see this if… you loved Kick-Ass; GTA has been an essential game on your Christmas list ever since it’s first incarnation.

Give it a miss if… you are squeamish; you haven’t seen any of the main Oscar contenders yet.

American Sniper

After one of the most compellingly tense trailers I’ve seen in a long time, American Sniper shot up my list of movies I wanted to see this January. I’m often very wary of ‘based on a true story’ films as they can be twee and overloaded with artistically liberal sentiment. So, I kept an open mind when I walked into the cinema.

We follow Bradley Cooper’s portrayal of “the deadliest sniper in US military history”, Chris Kyle, from his commissioning right through his active warfare in Iraq following the 9/11 attacks. A classic Texan cowboy, Kyle enlists in the Navy SEALs, amongst the toughest military details in the world. Gifted as a sniper, outlined by his dispatching of a barely visible snake on the firing range. Kyle is subsumed by his desire to rid the world of the evil doers, i.e. anyone who threatens the lives of his fellow troops. His zeal and patriotism is admirable, if a little in your face. At times, he kills autonomously, dispatching would-be assailants and threats without so much of a second thought. It is a stark reminder of the brutality and desensitised nature of warfare. Cooper illustrates a deeper side to his acting, not necessarily in the range of emotion he endures or how dramatically he portrays it, but rather in the way he chooses to present a man who gives very little away, and yet, allows the viewer to know where he is mentally. A difficult line to walk, but he achieves it, beardy faced and all.

Clint Eastwood is back to better form here, controlling the tension and atmosphere assertively, teasing out themes of PTSD (Post Traumatic Stress Disorder) and the brotherly bonds fostered in every aspect of military teamwork. It is in the later stages of the movie that Cooper and Eastwood present their best work. The last two tours of duty and the effects these visibly have on Kyle’s relationship with his family throw a huge spotlight onto the polarised nature of America’s desire to fight terrorism and the tattered troops they fail to care for adequately through the VA. This is probably Eastwood’s greatest failing in the film as a whole. No mention is given to the appalling waiting times veterans must endure to get basic care in many VA hospitals. Time is not allowed to show just how low troops can sink into their depression and PTSD as a result of fighting for their country, often for causes they have lost faith in. Fair enough, the film would likely have been a few hours longer, but at least it would have been more honest concerning America’s seeming distain for their troops once they have left the war effort. For a country so proud of their military might, who rides into countries at the drop of a cowboy hat to ‘sort them out’, America’s current treatment of the returning soldiers is frankly woeful. Obama has done good recent work to try and rectify this, but there is still much to be accomplished. Rant over.

A well put together and different approach to recent war movies, American Sniper has enough tension to keep you hooked for the whole runtime. That said, I couldn’t help but listen to the nagging voice in my head, which asks me, “Isn’t this just a poor man’s Hurt Locker?” To which I would answer – yes.

My verdict:        7.5/10

Go see this if… you enjoyed The Hurt Locker; if you want to know what happens to the kid in the trailer.

Give it a miss if… you’ve had enough of war movies; if you don’t think Bradley Cooper has the dramatic range to convince you he’s upset.

Birdman or (The Unexpected Virtue of Ignorance)

With so much Oscar buzz surrounding Michael Keaton and the film itself, I was hugely excited to see what would lie before me when I went to see Birdman or (The Unexpected Virtue of Ignorance). The full meaning of the title becomes clear towards the end of the film, in case you were wondering.

So, what did I think? I loved this movie. From start to finish it was clever, original, different, and at times disconcerting. Alejandro González Iñárritu directs in a slightly manic style. There is almost constant movement. I was reminded of Aaron Sorkin’s famous West Wing walking conversations, and through clever cuts and changing character focus, one was left feeling as if this was one continuous, long shot, almost right up to the end. The script is both funny and dark, with some genuinely laugh out loud moments. Dialogue is seeped in the surreal and you are drawn into the world of unhinged egos, supernatural visions, unsure of what is objective and what is just cerebral. Michael Keaton’s character, Riggan Thomson (not unlike Keaton himself), is famed for playing the titular movie superhero, who longs to be taken seriously as an actor. He sinks all his money into a broadway book adaptation to achieve his goal. I think he is a shoe-in for the Oscar (sorry to Eddie Redmayne and David Oyewolo etc.). The sheer energy and range that was needed to reach the levels he attained is worth a small golden statue, if not all of them. He’s already got the Golden Globe, so we’ll see how he goes from here.

That said, I don’t think this film would have been half as good if it weren’t for the superb supporting cast. Emma Stone, emaciated as Thomson’s post-rehab daughter, is clearly relishing the chance to be both serious and comedic, feeding into Riggan’s failed father-figure mentality. It was also great to see Edward Norton back to some of his best work. He seems to have been floating through films over recent years, but this gave him a chance to exercise his versatility. Case in point, one of my favourite scenes was when Norton, only just drafted into the play, and Keaton run through some lines, finding the meaning and motives of their characters. His ability to switch it on and off instantaneously is imperious. Special mention should also go to Zach Galifianakis playing it straight and yet still managing to deliver some of the best lines.

I don’t think I’ve ever seen a mainstream film like this. It made me think, kept me on my toes, and made me laugh. But most of all, it made me feel empathy for an egotistical, mentally unstable lead. Kudos to you my friends. Kudos.

My verdict:        9.5/10

Go see this if…you want to know what all the fuss is about; surreal films are your thing; you just want to see something that can only be described as “other”.

Give it a miss if…you don’t like largely drum based soundtracks; surrealism and you don’t quite see eye to eye.

Selma

I’m pretty wary of true life biopics. The claim “based on true events” is often a tenuous one at best, with characters being over-glorified or unfairly vilified in sepia tones to suit the director’s political or commercial intentions (on that, why do historical movies always need to be sepia toned? Do they think we won’t know this was 1965 if it isn’t?). Despite this, I have noticed a trend in recent times, an attempt to present famous leading men and women (sadly, still mostly men) in a more balanced light, illuminating their humanity and frailty. For example, in Long Walk to Freedom, Nelson Mandela, one of the most revered figures in modern history, was seen to be a womaniser and a hot-head, worlds away from the usual halo sporting image propagated in print. By no means do I wish to bring Madiba into disrepute, or to besmirch his good name, rather I believe it is healthier to see our heroes truthfully, warts and all.

And so, after much preamble, let me arrive into Selma. To my shame, I know little about the Civil Rights movement in America, and Martin Luther King Jr. beyond that he had a dream and was assassinated for his work. Those expecting to have their ignorance filled in will be sorely disappointed, for as the name suggests, this film focuses on a very specific moment in his life, his involvement and orchestration of the Selma marches. Many biopics films fall flat in their desire to cover great swathes of history in a couple of hours, papering over cracks and missing out sumptuous details of the moments in between the moments. Thankfully, Selma doesn’t. David Oyelowo captures the mannerisms and intonations of Dr King effectively, inhabiting the character and cleverly letting the screenplay infect the viewer, rather than trying to bludgeon you into submission or belief that he really is the great man. He is right to be nominated for awards. The strongest aspect is his vulnerability, which addresses what is so often missing in films like this – the foundational humanity of these icons.

I was surprised at how moving this film was. I do not share an affinity for American culture. I have not learnt much of their history, but I do understand a struggle for what is right, a struggle against oppression. Even though my first memories of South Africa are of a free and democratic country, post-Apartheid, the spectre still looms large over much of the country. It is corny, but I have Africa in my soul. So, often just the thought, but especially when I see brutal discrimination, racial prejudice and ignorance, it touches me very deeply. It is alien to me to treat someone differently just because of the colour of their skin. Differences of opinion arise due to actions, not appearances, but that is a discussion for a different day. The most moving part for me was the grace which was used in combat. Ava DuVernay expertly paints the daily grind the African-American population suffered, both physically and mentally, and how they continually got up again to struggle for another day. For many, God was their crutch, a belief that formed the cornerstone for Dr King’s passion and desire to see a truly free America.

As I left the cinema to John Legend and Common’s Oscar nominated song “Glory”, I couldn’t help but cast my mind over the events in Ferguson and New Jersey at the end of last year, scenes of African-American citizens being shot and killed; marches and demonstrations being dispersed by teargas; failures to investigate what happened and handing down acquittals to those responsible. Large-scale racism and active discrimination are, for most, a thing of the past, and this should be rightly lauded. But, in the light of this emotive picture and the recent events in America, I couldn’t help but ask myself: how far have we actually come?

My verdict:       9/10

Go see this if…you desire a human portrayal of iconic figures; if emotive, moving, positive pictures are your thing (or if you fancy a bit of a cry).

Give it a miss if…you’re a white supremacist bitter about the lack of slavery options in your state.