'Captain America: the Winter Soldier', 'Under the Skin', 'The Past', and 'Starred Up': review round-up

'Captain America: the Winter Soldier' - Dir. Anthony & Joe Russo (12A)

A sequel to both Joe Johnston's charmingly Spielbergian WWII-set origin story 'Captain America: the First Avenger' and Joss Whedon's superhero team-up crowd-pleaser 'The Avengers', 'Captain America: the Winter Soldier' is tonally very different to those films and indeed to the rest of the Marvel Studios oeuvre to-date. Directed by the Russo brothers, this one is more of a conspiracy thriller and - without going all Nolan Batman and jettisoning fun and colour - it's a comparatively gritty and grounded affair. Much like the Ed Brubaker run in the comics, which introduced this film's antagonist the Winter Soldier (alluded to by the writer's cameo as one of the scientists behind his creation), the film does a neat job of including lots of outlandish and far-fetched comic book elements - from the winged exploits of Anthony Mackie's Falcon to the newly computer-bound consciousness of Toby Jones' Arnim Zola - with something altogether more grounded and grave.

The casting of Robert Redford as the political face of world peacekeeping force SHIELD, Alexander Pierce, is one of many nods to the classic thrillers of the 70s, as this film delves into more morally grey territory than its predecessor. Where once there was a struggle between the 'greatest generation' and the Nazis, Cap (Chris Evans) now finds himself in a world he doesn't recognise and which has seemingly abandoned the principles of freedom he fought so hard for in the 40s. Now SHIELD is starting to look like something more tyrannical and oppressive than it seemed when Nick Fury (Samuel L Jackson) first burst onto the scene at the end of the first 'Iron Man' film - creating huge, automated airborne battleships capable of detecting and erasing threats before they happen: in an obvious nod to both modern drone warfare and the NSA surveillance scandals of the last few years.

Against this background is a well-crafted superhero romp, which is also something of a mini-Avengers team-up as Cap unites with the aforementioned Falcon and Scarlett Johansson's espionage specialist Black Widow to stay one step ahead of SHIELD and discover the truth behind the agency's corruption - thwarted at every turn my a mysterious new enemy with a link to Cap's own past: the Winter Soldier (Sebastian Stan). The action is hard-hitting, well choreographed and visceral, whilst the main players exhibit the sort of good chemistry needed to make all the bits in between fun. Especially Chris Evans in the starring role - an actor who imbues the title character with as much subtle depth as he does obvious decency.

'Under the Skin' - Dir. Jonathan Glazer (15)

A masterclass in editing and sound design, Jonathan Glazer's 'Under the Skin' stars Scarlett Johansson as an alien who takes on the form of a human female and uses this guise to seduce lonely, socially isolated men, who she then traps and harvests for... some reason probably much clearer to those who've read the Michel Faber novel. Though I'd argue the question of why she captures these men and what exactly becomes of them is a secondary concern in a film that works primarily on the level of visceral, sensory experience. In lieu of much specificity or explanation, this is simply the story of an outsider assimilating and attempting to fit in (albeit with nefarious intent), learning a certain degree of compassion for humanity and gradually becoming more unsettled by and attached to her newly acquired body.

Johansson is perfectly cast in the role, especially as the film is set in Scotland and she adopts a clean, regionally non-specific English accent when talking to her co-stars - mostly comprised of non-actors, supposedly oblivious (at least at first) to the fact they were part of a film. The audience is aware that she's a Hollywood movie star pretending to be English and, even if they don't consciously realise it, those she approaches must also have sensed this unease with and disconnect from the star in their midst: familiar yet just different enough to sow seeds of doubt. She's an impostor playing an impostor and it works brilliantly, especially as she glides around British high streets and shopping centres in her black wig and incongruous fur coat.

Moments of intense body horror and a heart-pounding finale combine with this playful casting and Glazer's technical mastery to create something truly memorable - potentially even destined for cult status.

'The Past' - Dir. Asghar Farhadi (12A)

In a style familiar to fans of his earlier films, such as 'A Separation' and 'About Elly', director Asghar Farhadi's maiden effort outside of Iranian cinema is still a tightly wound and faultlessly humane drama, peppered with extraordinary revelations and populated by nuanced and fully-formed characters who are lead by circumstance to ponder profound ethical questions. Ali Mosaffa stars as Ahmad, an Iranian man who travels to France to finalise a divorce from his wife Marie (Berenice Bejo, star of 'The Artist') from whom he has been separated for four years. Whilst there he is immediately thrown, quite against his will, into an unfolding family drama that he otherwise has nothing to do with, as Marie begs him to have a heart-to-heart with her eldest daughter from a previous marriage, Lucie (Pauline Burlet), in order to find out why she's taken against her mother's new partner Samir, played by 'A Prophet' star Tahar Rahim.

After a half-dozen twists and turns we come to understand the various conflicting points of view all involved in the unfolding crisis, which this time revolves around the theme of forgiveness and moving on from what has happened before - of leaving an old life behind as you head into another. Something which none of the characters can quite face doing, at least without difficulty and heartache. Nobody in contemporary cinema (at least that I know of) is quite as brilliant as Farhadi when it comes to creating ensemble casts in which every character is so complex and well drawn. As with his other films, the four central characters here - along with another three or four supporting cast members - are each worthy of audience investment and sympathy, portrayed and written with great compassion.

'Starred Up' - Dir. David Mackenzie (18)

Muggin' everybody off, and generally causing no small amount of bovva on his cell block, in this gritty British prison movie is rising star Jack O'Connell as damaged, young offender Eric Love - a teenager prematurely moved up to big boy jail because of how violently he behaves. In service of drama, Eric is improbably moved to the same prison, and indeed the same wing, as his equally unhinged father Neville (the always intense and brilliant Australian Ben Mendelsohn) where he comes face-to-face with his past and some the issues which have played a part in his becoming a violent offender in the first place. Without explicitly stating it, there's undoubtedly a history of physical and mental abuse between them that's telegraphed mainly in how O'Connell's body language and demeanor change when confronted by his old man. Apparently known to audiences for his role in teen drama Skins, O'Connell makes an impressive transition to the big screen here: as charismatic as he is frightening and unpredictable.

The central drama concerns how Eric becomes a pawn in a broader game played between a powerful fellow inmate (Peter Ferdinando, who was excellent in the low budget crime film 'Tony'), a crooked and cruel prison warden (Sam Spruell), and a well-meaning volunteer psychologist (Rupert Friend). Friend's psychologist lobbies the skeptical prison establishment to get Eric placed in his self-help group (which they want to see fail for reasons of pantomime vindictiveness), where he can talk through his problems and learn to deal with his emotions without resorting to violence, whilst the prison authorities mostly just want to smash his face in - to the extent where all the police seem like irrational villains. It's the interactions between the various prison staff that ultimately bring the film down, though scenes between inmates (and especially those in Friend's group) are often gripping and compelling.

'Hotel Transylvania', 'Liberal Arts' and 'About Elly': review round-up

'Hotel Transylvania' - Dir. Genndy Tartakovsky (U)
Of the current glut of monster-themed animations released in time for Halloween, 'Hotel Transylvania' probably looks the least appealing at a first glance - with neither the Disney/Tim Burton polish and ready-made fanbase of 'Frankenweenie' or the Laika Studios, stop-motion kudos of the amazing 'ParaNorman'. By contrast this is a flat and bog-standard looking CGI animation from Sony, boasting the voice talents of Adam Sandler - as Dracula: proprietor of a hotel for monsters where the misunderstood creatures can be safe from human intolerance. However, closer inspection reveals there is far more of interest here than first meets the eye, even if the film itself can't rise far about meagre expectations.

For starters, the screenplay is co-written by Peter Baynham, whose work with Chris Morris, Armando Iannuccci, Steve Coogan and Lee and Herring made his a key voice in British alternative comedy and whose most notable job as a screenwriter to-date was last year's extremely funny Aardman animation 'Arthur Christmas'. Then there's the director - Genndy Tartakovsky - whose name may not be immediately familiar to all, but whose work in animation will be well-known to most of a certain generation. Tartakovsky was one of the key figures behind all the great Cartoon Network shows of the 90s, working on such favourites as 'Dexter's Laboratory' and 'The Powerpuff Girls', as well as creating the celebrated 'Samurai Jack' and the original 'Star Wars: Clone Wars' cartoon - which is the single best thing to have any connection with Lucas' prequels.

Sadly Tartakovsky's distinctive visual style can only be seen in glimpses here, notably in some of the character designs, but it's still nice to see him move to the big screen and one can only hope that the commercial success of this one could lead him to better things. Yet 'Hotel Transylvania' itself isn't an amazing film - either as a showcase of animation or storytelling. It certainly isn't in the same league as Sony's own 'Cloudy With a Chance of Meatballs' and doesn't hold a candle to Tartakovsky's more auteurist TV work. But it is, thanks largely to Baynham, occasionally very funny and what it lacks in polish it makes up for in charm.

'Liberal Arts' - Dir. Josh Radnor (12A)
Interminable tosh of the highest order, 'Liberal Arts' - starring, directed by and written by Josh Radnor - is an extremely smug rom-com about a man in his mid-30s who returns to his old college campus and falls in love with a student called Zibby (Elizabeth Olsen). Yes, it's the sort of American Indie movie where manic pixie dream girls called Zibby run around falling in love with punchable, naval-gazing author insert fantasy characters. But worse is the fact that Radnor wastes an excellent supporting cast that includes Richard Jenkins and Allison Janney.

For something that so self-consciously longs to be seen as intellectual - with Woody Allen style credits, frequent references to classical music and literature - the film is incredibly dumb. Everything about how Radnor writes relationships feels trite ("sex is complicated!"), based on watching a marathon of 'Dawson's Creek' rather than born of actual experience. Metaphors are heavy-handed and over-extended throughout, while the film frequently gets very cheesy indeed, with one scene in particular playing like a parody of a parody of the 'Dead Poet's Society' episode of 'Community', but without any trace of irony. It's all extremely false and forced and hard to stomach. The college experience, as seen here, is not populated by characters but broad stereotypes that might as well have been stolen from one thousand other lazy American college comedies. Case in point: Zac Efron as the stoner.

There is one good scene with Allison Janney, but otherwise it would be charitable to describe 'Liberal Arts' as a train-wreck. The spoiler-adverse might want to stop reading, but I'd like to give a specific example that sums up how badly written this movie is. During the final stages Radnor realises that Olsen is too young for him (yes, the film is also judgemental and conservative about its central premise) and begins seeing a lady his own age from the local bookshop. As they sit on the floor of the bookstore, during some sort of bizarre after-hours lock-in, with piles of open books all around them, the lady says something like "I love to read" and Radnor responds that he does too. No? Really? The woman in the bookshop likes to read? And the man who spent the entire film talking about books and being obnoxious about Twilight (though without ever saying its name, like a coward) also likes to read?! There is no bit of information - however obvious or small - Radnor feels comfortable to leave unsaid, such is his respect for the audience.

'About Elly' - Dir. Asghar Farhadi (12A)
Iranian filmmaker Asghar Farhadi's recent international acclaim, with last year's Golden Bear and Oscar winning 'A Separation', has ensured his previous feature - 2009's 'About Elly' - a limited UK release. Which is a good thing, because it's every bit as good as the director's follow-up: naturalistic acting from a terrific ensemble cast, rich, three dimensional characters who behave consistently and whose differing moral positions are portrayed with empathy, and a tight story which wrings the most moral head-scratching and human drama from a simple set-up.

Here we follow a group of middle-class friends from Tehran as they go on a weekend getaway to the seaside, bringing along a relative stranger - Elly (Taraneh Alidoosti) - in order to introduce her to their recently divorced friend. However, when Elly goes missing (presumed drowned), the group is forced to confront how little they really knew about their guest. There are moral dilemmas and grave twists that will be familiar to those who saw 'A Separation' (in a good way) and, like much contemporary Iranian cinema, the film is rich with social critique for those willing to look below the surface.

On the most recent Splendor Cinema podcast (#109) I likened this craftily hidden critique in Farhadi's films to Spielberg's 'Jaws' in that what makes both so compelling is found in what they are not allowed/able to show the audience. In 'Jaws' Spielberg can not show you the shark. CGI was not available then and a rubber monster would have looked stupid, so John Williams' score and clever camerawork fill in for the beast. And it's probably his best movie, even though he has since been able to do whatever he wants and with all the money and technology in the world. In short: artists seem to work better with strict limitations than with complete freedom. That's why some of the best Hollywood films were made during the Hays Code years or at the height of the HUAC. Likewise, Farhadi and his peers can not openly discuss gender inequality, for instance, so they tell us stories that stand on their own merits but which are incredibly detailed and textured when studied up close. Farhadi can't show you the shark, but he sure knows how to imply the shit out of one. One of the best films I've seen this year, without doubt.

Pretty much sums up last night's Oscars for me...

The above celebration - recorded in an excitable Iranian household - of the Best Foreign Language Film win for 'A Separation' mirrors my feelings about last night's festivities. I'm pleased Woody Allen won the original screenplay category for 'Midnight in Paris', but would have preferred to see Asghar Farhadi's film triumph there too. Also raising a smile is the Best Supporting Actor win for Christopher Plummer and 'Beginners'.

I didn't stay up to watch last night's telecast, mainly because the prospect of staying up until 4am in the company of Billy Crystal to see 'The Artist' crowned the year's best movie just wasn't doing it for me. I'm not an Oscar hater at all (or even a Billy Crystal hater), for what it's worth. It's just that not being especially enamoured with 'The Artist' and doubting the chances of 'Hugo', 'The Descendants' or 'Moneyball', I fancied it would be a long night riddled with sighs and perhaps featuring a "thank you" to Margaret Thatcher.

That tribute to Thatcher didn't materialise though Streep did win the award as anticipated, whilst 'The Artist' scooped up Best Picture, Best Director (Michel Hazanavicius) and Best Actor (Jean Dujardin) - along with two others. Best Supporting Actress went to 'The Help' star Octavia Spencer. Scorsese's lovely 'Hugo' scored five technical awards. On the positive side, a win for 'The Artist' does contradict those troubling reports last month that the film might suffer a backlash from voters for being non-American, with the campaign told to play down the movie's Frenchness. Happily that doesn't seem to have been the case.

Meanwhile, on a tangentially related note, I fear for Sacha Baron Cohen, who "stole headlines" when he arrived on the red carpet as the character from his upcoming comedy 'The Dictator'...



It's not that I'm bothered on any level by that stunt, but just that Cohen's new character isn't particularly inspired and raises uncomfortable questions about national stereotyping. I thought 'Borat' was really funny because it seemed prejudice was the target of the jokes, with people's willingness to think the character was real being in some way an expose of ignorance. Yet "the dictator" is just a guy with a funny beard and an accent that wouldn't be out of place in those dreadful meerkat adverts. Hope the film proves me wrong.