The Imitation Game (2014)

Director:

 Morten Tyldum

Writers:

 Graham Moore, Andrew Hodges (book)

Stars:

 Benedict Cumberbatch, Keira Knightley, Matthew Goode 

Storyline

Based on the real life story of legendary cryptanalyst Alan Turing, the film portrays the nail-biting race against time by Turing and his brilliant team of code-breakers at Britain's top-secret Government Code and Cypher School at Bletchley Park, during the darkest days of World War II. Written by Studio Canal

Box Office

Budget:

 $14,000,000 (estimated)

Opening Weekend:

 $479,352 (USA) (28 November 2014)

Gross:

 $91,121,452 (USA) (8 May 2015)

User Reviews

 

An Eminently Well-Made Biopic

4 December 2014 | by SmashingUKProductions (Worcester, England) – See all my reviews

Brilliant adaptation of the story of Bletchley Park and the cryptanalysis team, ran by Alan Turing, that cracked the code of the German Enigma Machine during World War II. Featuring an outstanding starring performance from Benedict Cumberbatch as war hero Turning and supporting acts from a brilliant cast including Keira Knightley, Charles Dance and Mark Strong, 'The Imitation Game' is a powerful and eminently well-made biopic that illuminates the facts whilst respecting the story it is based upon. The English-language debut of 'Headhunters' director Morten Tyldum, this British World War II thriller is a highly conventional story about humanity that creates a fascinating character, anchored by a hypnotically complex performance.

Black Swan (2010)

Director:

 Darren Aronofsky

Writers:

 Mark Heyman (screenplay), Andres Heinz (screenplay) (as Andrés Heinz) |credits

Storyline

Nina (Portman) is a ballerina in a New York City ballet company whose life, like all those in her profession, is completely consumed with dance. She lives with her obsessive former ballerina mother Erica (Hershey) who exerts a suffocating control over her. When artistic director Thomas Leroy (Cassel) decides to replace prima ballerina Beth MacIntyre (Ryder) for the opening production of their new season, Swan Lake, Nina is his first choice. But Nina has competition: a new dancer, Lily (Kunis), who impresses Leroy as well. Swan Lake requires a dancer who can play both the White Swan with innocence and grace, and the Black Swan, who represents guile and sensuality. Nina fits the White Swan role perfectly but Lily is the personification of the Black Swan. As the two young dancers expand their rivalry into a twisted friendship, Nina begins to get more in touch with her dark side - a recklessness that threatens to destroy her. Written by Fox Searchlight Pictures

Box Office

Budget:

 $13,000,000 (estimated)

Opening Weekend:

 $1,443,809 (USA) (3 December 2010)

Gross:

 $106,952,327 (USA) (29 April 2011)

User Reviews

 

A Swan Dive into Darkness

18 October 2010 | by Colin George (United States) – See all my reviews

Darren Aronofsky's "Black Swan" makes ballet cool—and if that isn't a Herculean feat in itself, I don't know what is. It also happens to be one of the best films of the year, featuring one of the best performances of the year. Natalie Portman will be nominated for her devastating portrayal of petite perfectionist Nina the ballerina or I'll pull a Werner Herzog and eat my shoe.

"Black Swan" is cut from the same cloth as Aronofsky's 2008 film "The Wrestler," if at the opposite end. Interestingly, before either project was realized, the director was reportedly mulling a drama about the relationship between a professional wrestler and a ballerina. Somewhere along the way, however, that concept was split down the middle—and thank God. "Black Swan" is brilliant, but it wouldn't necessarily play well with others.

Like its predecessor, the film examines a physically demanding and widely unappreciated art, and though thematically similar, the two complement each other via mutually exclusive cinematic vernaculars. "The Wrestler" is ultimately a safer film. Its emotional experience is directly conveyed via plot and dialogue. What Aronofsky attempts with "Black Swan" is riskier: he plays genre Frankenstein, taking established themes and transplanting them into that which feels initially least appropriate—horror.

Yet despite certain unmistakable cues, I'd hesitate to call "Black Swan" a horror film. Visually, maybe, but John Carpenter insists "The Thing" is a Western, and likewise there is more to "Black Swan" than is aesthetically obvious. It probably best fits the psychological thriller mold, but as Aronofsky suggests through his manipulation of mirrors, it is not a film that ever casts a clear reflection. For me, that dichotomy is what makes it so fascinating and rewarding.

"Black Swan" strikes an immediate haunting note that seems to grow louder with reverberation rather than quieter. In the first half, the director lays track work; in the second, he runs right off it. Nina begins her journey receiving the coveted role of the Swan Queen in a modernist production of Tchaikovsky's "Swan Lake." Her practiced technique makes her ideal for the role of the goodly White Swan, but her lascivious director (Vincent Cassel) has reservations about her ability to portray her evil twin, the titular Black Swan—a character that embodies impulse and lust. Nina's process of unlearning takes her to increasingly dark, surreal depths.

The final act of the film comprises the most riveting 40 minutes I've seen on screen all year, though "Black Swan" is never the mindf**k some have improperly labeled it. Aronofsky deliberately builds atmosphere and anticipation toward a Kubrickian climax that is at once obvious and stunning. Tchaikovsky's score falls like an aerial assault, and that inherent theatricality collides with Aronofsky's narrative as they come to a dual boil.

Perhaps best of all, however, is that for all the audacity on display, the director knows when to dial it back as well. The casting of Mila Kunis ("Forgetting Sarah Marshall," "That 70's Show") was idyllic. She plays a comic relief of sorts, with a comely, down-to-earth veneer but viperous eyes. Her performance is fantastically calculated—she provides derisive, but much needed perspective on Nina's deteriorating sense of reality.

"Black Swan" is a wholly effective work born from the shadowy underside of the mind, anchored by a career-defining turn by Portman. It is a quick, impulsive piece, but it explains artistic devotion and the consuming nature of obsession as well or better than any film I've ever seen. In hindsight, it feels more characteristic of the filmmaker responsible for "Pi" and "Requiem for a Dream" than "The Wrestler," though the parallels between it and "Black Swan" run deep.

They may be cut from the same cloth, but the difference between the two is as stark as black and white. Hail Aronofsky, the Swan King.

Gravity (2013)

Director:

Alfonso Cuarón

Writers:

 Alfonso Cuarón, Jonás Cuarón

Stars:

 Sandra Bullock, George Clooney, Ed Harris 

Storyline

Dr. Ryan Stone (Sandra Bullock) is a brilliant medical engineer on her first shuttle mission, with veteran astronaut Matt Kowalski (George Clooney) in command of his last flight before retiring. But on a seemingly routine spacewalk, disaster strikes. The shuttle is destroyed, leaving Stone and Kowalsky completely alone - tethered to nothing but each other and spiraling out into the blackness. Written by MuTaTeD

Box Office

Budget:

 $100,000,000 (estimated)

Opening Weekend:

 $55,785,112 (USA) (4 October 2013)

Gross:

 $274,084,951 (USA) (2 May 2014)

User Reviews

 

A stellar space film that is literally about space and vertigo and survival--fiction, but not science fiction

19 October 2013 | by secondtake (United States) – See all my reviews

Gravity (2013)

A ridiculously visual movie. The photography is astonishing. Astonishing. Add to that a story that never relents with suspense and emotional intensity and you have a remarkable movie.

The idea of being under constant stress, worrying for your main characters, should not be new if you know the director Alfonso Cuaron's previous major film, "Children without Men." And like that film, he works with his same cameraman, Emmanuel Lubezki, who has become a co-conspirator in his films. That's a good thing. This movie is a visual stunner. Yes, it has a lot of "effects" if you can call them that, but that have such visual coherence they remain logical and reasonable, even as they tip into the fabulous. It's an achievement.

Sandra Bullock is the main character here, even more than her co-lead George Clooney. And she's pretty amazing. You might think she doesn't get much room to stretch her abilities, trapped in space the whole time, but this is exactly where it shows how good she is. Even when she's talking to herself she makes it real, and moving, not a canned or cheesy sentimental or filler kind of moment. Clooney is also strong, playing the more experienced astronaut to a T, including his enduring calm in crisis.

Once you are done watching and leave the theater (or stand up from your couch) you might actually feel disoriented. Certainly in 3-D (and I saw it in the IMAX version) the effects are visceral. But looking back in the light of day you might also ask what the movie was about. Or rather, if it was about anything more than the one, relentless trajectory of surviving a series of near-death mishaps.

The answer is no. And that's a strength. It's definitely good that the writers (including the director) did not push the sentimentality too hard (there's a little). And there is no great sense of finding God or discovering your inner self. No, this is a survival film as gripping and down to earth (haha) as the vivid "Grey." No distractions here.

Except the visuals. Even in 2-D this must be something to marvel at. The 3-D was really really good, and this might seem odd to say given the theatrical mechanics of the camera and exploding spacecraft, but it's also really subtle. There are few moments (memorable ones, like Bullock's tears) where the dimensional aspects come forward. But the film basically uses the 3-D effects to enhance what is already there, nothing more. This of course, enhances a lot, but in respect to the story.

The photography is remarkable for the long takes at work, including the almost laugh- out-loud spectacular first long scene where Bullock and Clooney are doing spacewalks. The intelligence of how the camera pulls you into the scenes, with fluidity and without breaks (no edits, no cuts), is both beautiful and effective. There are even moments that are so virtuosic you wonder how they even thought they could do it, let alone then do and succeed.

The best example for me was watching Bullock spinning against the fixed starry sky, then the camera pulls closer and seamlessly starts to spin until the spinning becomes the same as Bullock's. The camera continues its approach, getting in on her helmet with reflections, and her face, and then finally her eye (yes that close), and with an incredibly deft wide angle swing we are in her head, looking out at the spinning universe, listening to her panic. Then the camera reverses and undoes all of this, step by fluid step. It takes a really long time, it happens without a single break (which means you are given no emotional escape), and it's both gorgeous and taut with terror.

There have been some questions raised about the feasibility of the various events--the different orbits of the real shuttle and space station, or the high speed of the spacewalker in a jetpack, or getting a visual on a space station 100 miles away--but you have to just let all that go. It doesn't really matter. It's not about likelihood on any level. And the movie is so accurate in so many ways it will seem very conceivable.

It's hard to imagine not liking this movie on one level or another. No, it isn't crazily imaginative like a Tarantino or Coen film, and it doesn't work its way into social or psychological significance, but what it deliberately does focus on is flawless.

a postscript: be sure to see the Cuaron directed parallel short film "Aningaaq" which is recently posted all over. Google it.

The Dark Knight Rises (2012)

Storyline

Despite his tarnished reputation after the events of The Dark Knight, in which he took the rap for Dent's crimes, Batman feels compelled to intervene to assist the city and its police force which is struggling to cope with Bane's plans to destroy the city.Written by WellardRockard

Director:

 Christopher Nolan

Writers:

 Jonathan Nolan (screenplay), Christopher Nolan (screenplay) | 3 more credits »

Stars:

 Christian Bale, Tom Hardy, Anne Hathaway 

User Reviews

 

Nolan has outdone himself... again.

18 July 2012 | by Greg Pryor (New Zealand) – See all my reviews

Christopher Nolan has outdone himself with this one. At 3.30 in the morning, I was tired. Just getting out of it, I've never been so awake.

Perhaps what set this film apart from his other films was that it had a genuine emotional heartbeat. I felt that this was a flaw of Nolan's other films - the vision of emotion was there, but it was hollow. In this I bought it. I felt it, hero and villain alike.

Christian Bale was typically brilliant as Batman, and I felt that Bruce Wayne was more heavily embraced in this final installment. Bale added emotional depth to the character - a plot point that I think went astray in The Dark Knight - picking up from the development made in Batman Begins.

Tom Hardy as Bane was quite simply, terrifying. No longer a dunderhead "enforcer", but one of the criminal masterminds behind "Gotham's Reckoning", coupled with a physical dominance strong enough to send shivers down your spine.

Anne Hathaway as Selina Kyle defied my expectations. Hands up who was not entirely convinced that that girl from the Princess Diaries could handle an intensely physical role like Catwoman. But here I am, hugely impressed. She added immeasurably to the value of the film.

Marion Cotillard fulfilled the role of Miranda Tate admirably, though I suspect this was the most underdeveloped character of the film - though after watching, I can see why.

The unsung hero of The Dark Knight Rises is Michael Caine as Alfred. A heartfelt performance that helps drive the emotional content of the film, helping Nolan sell his most well-rounded film to date. Caine's performance in both presence and absence.

Special mention goes to Joseph Gordon Levitt, who is consistently proving himself to be a big player in the Hollywood game. His role as officer Blake felt like there could've been more, but it may just have come all a bit much. It was a great performance, and Levitt sunk his teeth into role.

If you can, go see this in IMAX. If any film was to sell the format to skeptics, The Dark Knight Rises would be IT. I'm happy Nolan stuck to his guns and shot in 2D. 3D would have been unnecessary.

I suppose at this point, I have to turn my focus on Nolan. If he ever reads this... aspiring filmmaker to filmmaker, I've never been so envious, jealous in all my life. It's a film that leaves me floundering, wondering what I could possibly do to get anywhere near this ballpark. Well done. I think an Oscar Nomination is in order.

From here, I'm not sure what to expect of the future. Does our imagination carry us forward, or do the studios? Time will tell.

10/10

The Dark Knight Rises (2012)

    Eight years after the Joker's reign of anarchy, the Dark Knight, with the help of the enigmatic Selina, is forced from his imposed exile to save Gotham City, now on the edge of total annihilation, from the brutal guerrilla terrorist Bane.

Director:

 Christopher Nolan

Writers:

 Jonathan Nolan (screenplay), Christopher Nolan (screenplay) | 3 more credits »

Stars:

 Christian Bale, Tom Hardy, Anne Hathaway |

User Reviews

 

Nolan has outdone himself... again.

18 July 2012 | by Greg Pryor (New Zealand) – See all my reviews

Christopher Nolan has outdone himself with this one. At 3.30 in the morning, I was tired. Just getting out of it, I've never been so awake.

Perhaps what set this film apart from his other films was that it had a genuine emotional heartbeat. I felt that this was a flaw of Nolan's other films - the vision of emotion was there, but it was hollow. In this I bought it. I felt it, hero and villain alike.

Christian Bale was typically brilliant as Batman, and I felt that Bruce Wayne was more heavily embraced in this final installment. Bale added emotional depth to the character - a plot point that I think went astray in The Dark Knight - picking up from the development made in Batman Begins.

Tom Hardy as Bane was quite simply, terrifying. No longer a dunderhead "enforcer", but one of the criminal masterminds behind "Gotham's Reckoning", coupled with a physical dominance strong enough to send shivers down your spine.

Anne Hathaway as Selina Kyle defied my expectations. Hands up who was not entirely convinced that that girl from the Princess Diaries could handle an intensely physical role like Catwoman. But here I am, hugely impressed. She added immeasurably to the value of the film.

Marion Cotillard fulfilled the role of Miranda Tate admirably, though I suspect this was the most underdeveloped character of the film - though after watching, I can see why.

The unsung hero of The Dark Knight Rises is Michael Caine as Alfred. A heartfelt performance that helps drive the emotional content of the film, helping Nolan sell his most well-rounded film to date. Caine's performance in both presence and absence.

Special mention goes to Joseph Gordon Levitt, who is consistently proving himself to be a big player in the Hollywood game. His role as officer Blake felt like there could've been more, but it may just have come all a bit much. It was a great performance, and Levitt sunk his teeth into role.

If you can, go see this in IMAX. If any film was to sell the format to skeptics, The Dark Knight Rises would be IT. I'm happy Nolan stuck to his guns and shot in 2D. 3D would have been unnecessary.

I suppose at this point, I have to turn my focus on Nolan. If he ever reads this... aspiring filmmaker to filmmaker, I've never been so envious, jealous in all my life. It's a film that leaves me floundering, wondering what I could possibly do to get anywhere near this ballpark. Well done. I think an Oscar Nomination is in order.

From here, I'm not sure what to expect of the future. Does our imagination carry us forward, or do the studios? Time will tell.

The Dark Knight (2008)

When the menace known as the Joker wreaks havoc and chaos on the people of Gotham, the caped crusader must come to terms with one of the greatest psychological tests of his ability to fight injustice.

Director:

 Christopher Nolan

Writers:

 Jonathan Nolan (screenplay), Christopher Nolan(screenplay) | 3 more credits »

Stars:

 Christian Bale, Heath Ledger, Aaron Eckhart 

User Reviews

 

Surpasses "Begins" in every aspect!!!

7 July 2008 | by johnnymacbest (United States) – See all my reviews

Christopher Nolan's second bundle of joy "The Dark Knight" EXCEEDED all of my expectations!!! With the success of 2005's reboot of the Batman franchise, they took what was already established and expanded it, amped it up, and gave a deeper, darker and brooding story that is more gripping and the suspense is likely to catch you of guard several times throughout. Christian Bale delves more deeper into Batman, sworn to fight evil and injustice, though also quite reluctant and uncertain if his crusade can ever end and cleanse his inner turmoil from his fractured soul due to the murder of his beloved parents. But with the help of his trusted butler/ally Alfred (played superbly by Michael Cane) grounds him, gives him moral support, and keeps him in check. But the real star of the show is Heath Ledger as Batman's most deadly enemy, The Joker. I can HONESTLY tell you that: as good as Jack Nicholson was in Batman'89 he is CHILD'S PLAY compared to this Joker. He is sadistic, psychotic, and downright SCARIER and PSYCHOLOGICALLY disturbing than the previous incarnation of The Clown Prince of Crime and Ledger gives it his all to do him justice. Along with the original cast comes some fresh faces such as Aaron Eckhart, Maggie Gyllenhaal and more. I must say though I liked Katie Holmes, Gyllenhaal gives a much better performance and is a far cry from the "damsel-in-distress" stereotype (though there's a little of it, THANKFULLY) that's common in films. Bale and Gyllenhall have MUCH better chemistry this time around more so than Holmes. Even better, the fight sequences are vastly improved and feature more brutal and bone crushing combat than "Begins" in addition to new technology at Batman's disposal.

Also worth mentioning is screenwriter Jonathan Nolan, who gives the film an added frosting to an already delicious cake.

Simply put, The Dark Knight is totally more bad ass than "Begins." The action is great, and the plot is more deeper and engrossing. I applaud Christopher Nolan, Christian Bale, and especially Heath Ledger (who sadly passed away earlier this year) and all those aboard for believing in Mr. Nolan's talents for this second installment. Although some may feel a bit of melancholy over Ledger's death, but as a final note I will say this sincerely from my heart: Remember Heath Ledger and honor him in your minds and hearts not only for his performances, but as a human being and father to his daughter Matilda Ledger. May we issue him best wishes for his family and friends and his daughter for years to come. Remember . . . Honor him not only for this role and past roles, but as an incredible individual and talented actor.

The Revenant (2015)

A frontiersman on a fur trading expedition in the 1820s fights for survival after being mauled by a bear and left for dead by members of his own hunting team.

Director:

 Alejandro G. Iñárritu

Writers:

 Mark L. Smith (screenplay), Alejandro G. Iñárritu (screenplay) | 1 more credit »

Stars:

 Leonardo DiCaprio, Tom Hardy, Will Poulter | See full cast & crew »

User Reviews

 

A Powerfully Bleak & Masterful Film

17 January 2016 | by SmashingUKProductions (Worcester, England) – See all my reviews

Take the direction of Alejandro González Iñárritu, combine it with the stunning cinematography of Emmanuel Lubezki and toss in Leonardo DiCaprio and Tom Hardy for their acting charms and what do you get? An extraordinary and masterful film.

Fresh off of 'Birdman,' Iñárritu moved straight on to 'The Revenant,' a western-epic inspired by the true-life experiences of frontiersman Hugh Glass in the winter-struck landscape of 1820s America. The film gained some notoriety in mid-2015 for its production problems and has thus been regarded one of the most challenging film shoots in the history of cinema. Rightfully so. The film opens with the soothing sound of running water, thrusting the audience into an almost meditative state, and then it strikes, an action-packed sequence ensues with a near single sweeping take. Now this is a spoiler-free review, so I'll leave the pleasure of viewing that scene to you.

This film heavily evokes reactions from the audience and does so well, whether it's staring at the screen in awe or gasping at the visceral violence, if you face this film with the right attitude and expectations, it will be a thrill ride like no other. Lubezki has proved that he is one of the most fantastic cinematographers of modern cinema, and the extensive use of natural lighting over artificial supports that statement even further, the film is beyond stunning. Supporting this is the score from the relatively unknown composers, believe me, when the sudden orchestral boom strikes your eardrums, it's mesmerising.

The makeup, the direction, the editing, the visual aesthetics, and of course the performances from a hopefully soon-to-be Oscar winning DiCaprio, 'The Revenant' is a visual treat for those who appreciate cinema and for those who wish to just get absorbed by the immense landscapes and poetic justice Iñárritu has given it. This is, for me, a modern masterpiece.