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The Iron Lady (2011)


Director: Phyllida Lloyd
Writer: Abi Morgan 
Stars: Meryl Streep, Jim Broadbent and Richard E. Grant

The story of how a butcher's daughter from unlikely Lincolnshire rose to become the most powerful woman of her generation, going to war half way across the world, against her own people and against the IRA, stretching the boundaries of gender equalities and leaving a legacy of being the most polarising figure ever in British politics ought to be an engrossing historical journey. The reality however sees director Phyllida Lloyd opt for a story about a senile old lady being told off for venturing to the cornershop.

The Iron Lady’s problems are in the main structural, labouring in the present and using the heft of Thatcher’s legacy as mere wallpaper. Focusing on the former Prime Minister’s crumbling psyche as she engages in clearing out her late Husband Denis’ (Jim Broadbent)  wardrobe, clumsily triggering scattered fragments of reminiscence that tell her story. Interjected are interactions with Denis which attempt to contextualise her senility and act if anything as a welcome comical instrument within these frustratingly timed interludes. 

Meryl Streep the one saving grace is also emblematic of the same problems, falling foul of the structural constraints. Of the three Thatchers we see, one being a young Margret Roberts (Alexandra Roach), Streep’s Iron Lady at the peak of her powers and service to the nation trumps Streep the frail, widowed, retiree yet the screen time is too balanced to support the accomplishments of her political career. Union Strikes, the Falklands, terrorism, resignation  are all  glossed over too briskly with little gravity and sense of importance, even more humanistic landmarks such as marriage and motherhood feel choked out of the pitiful 100 minute running time by indulging in a comparatively insignificant present.

The Iron Lady despite Streep’s resplendence is a failure, lacking edge, heart and worst of all integrity, offering little for either detractors or devotees of Thatcherism to sink their teeth into whilst also being unable to even provide anything remotely substantial or educational for newer and future generations to learn from. The great Lady, her legacy and her country deserved better.

5/10

Top 5 Biopics

5. Frida (2002)

Salma Hayeck and Alfred Molina are in fine form here in this recounting of the life of Mexican artist Frida Kahlo.

4. What's Love Got to Do with It (1993)

Explosive story of Tina Turner's battle with ,fame, womanhood and domestic abuse at the hands of maniacal husband Ike Turner, Angela Bassett turns in a physical and emotional performance.

3. Milk (2008)

Story of seminal Gay politician Harvey Milk who dedicated his life to uniting San Francisco's disparate community in the 70's. Sean Penn bagged an Oscar for best actor in a leading role here.

2. The Last Emperor (1987)

The story of how Puyi a 2 year old child  held the dynastic burden of China's final imperial chapter, epic in scale and grandeur telling a tale that shaped China's history. Bagged 9 Oscars.

1. Malcolm X (1992)

Malcolm Little ascended from small time Boston criminal to one of the most controversial figures in the American battle for racial parity in the 60's. Revered as an iconic freedom fighter by some, chastised as an inflammatory supremacist by others Spike Lee's finest film is an engaging and holistic account of a misunderstood and pivotal man in civil rights history.

For 2011 (Top 10)

10. Benda Bilili!


Directors: Renaud Barret, Florent de La Tullaye


Calling Benda Bilili a rags to riches tale barely scratches the surface of the everyday strife that a bunch of disable Congolese street musicians must endure on the path to becoming world music phenomenas. Their troubles manifest through limps crippled by polio, extreme poverty in the survivalist Kinshasan ghettos, improvised transportation methods and homelessness. Their triumphs are simply garnered by the ability to transmogrify such hardships into sound, a sound made more remarkable by its origins of makeshift rehearsals in the local zoo and production from homemade instruments. All of which is captured in this joyous documenatry that is filled with all the charm and warmth you could wish for.

9. Hanna

Director: Joe Wright
Stars: Saoirse Ronan, Cate Blanchett and Eric Bana





"Saoirse Ronan may just be the best young actress on the planet at the moment..."






8. Melancholia

Director: Lars von Trier
Stars: Kirsten Dunst, Charlotte Gainsbourg and Kiefer Sutherland

“A Pessimist is never disappointed”.. well not in Lars von Trier’s moody science fiction gloom-fest about the impending apocalyptic threat created by a blue planet named Meloncholia on a collision course with mother earth. There are no Bayhem like Armageddon heroics, instead there is just inward despair and crumpling panic. There is also a superb Kirsten Dunst performance that holds the film and its themes firmly in tact, her portrayal of Justine a manically depressed bride becomes the embodiment of Melancholia’s symbolic resonance, in as much blueness hangs overhead, everyone dealing with their own anger, denial or morbid acceptance. Von Trier tells a crushing tale of life in its final moments and moments in lifes dying embers.





7. Submarine


Director: Richard Ayoade
Stars: Craig Roberts, Sally Hawkins and Paddy Considine


"Ayoade’s directorial flair makes for a flourishing aesthetic..."



6. Tinker, Tailor, Soldier, Spy


Director: Tomas Alfredson
Stars: Gary Oldman, Colin Firth and Tom Hardy



Tomas Alfredson’s stunning cold war spy piece and adaptation of John le Carré’s much loved novel delivered one of the years more sophisticated films. Gary Oldman’s range and talents have never been more on display here where he plays the antithesis of his much loved commissioner Gordon as a partly disgraced, partly retired and particularly crusty MI6 stalwart George Smiley who must track down the double agent among his former colleagues, with only a pair of incongruous intelligence officers for assistance. 70's London creates an immersive backdrop of an extraordinary grey and murky colour palette giving the film a gorgeously authentic look. Alfredson unclutters the heavy tone of a complex espionage narrative into an easily digestible 2 hour “who dunnit” lifted by a superb cast who create a sliceable and taut atmosphere with mere raising of eyebrows and folding of hands - a quite dextrous enterprise from all involved.


5. Win Win

Director: Thomas McCarthy
Stars: Paul Giamatti, Amy Ryan and Jeffrey Tambor

"McCarthy pens a story very much of our time.."




4. Moneyball

Director: Bennett Miller
Stars: Brad Pitt, Robin Wright and Jonah Hill

Whilst many actors of his generation are getting lazy and settling for undemanding DVD fodder, Brad Pitt continues to diversify his career with a tremendous foray into the business world of America’s favourite past time. Moneyball like 2009’s Blindside is based on a Michael Lewis book that at its heart is a study of the change in player and talent evaluative measures in American sports. Billy Beane’s (Pitt) Oakland A’s must battle the swelling odds brought about by the financial inequities within Major League Baseball. With help of a Yale economics grad (Jonah Hill), his scientific computer generated financing method and some thick skinned resistance to the “Old Skool” ideologies Beane transforms The A’s fortunes. Subject matter aside director Bennett Miller broadens the films appeal by exploring deeper into Beane’s personal space, finding failures in equal measure to his success', be it fatherhood or his own underachieving playing career. Moneyball revels in its own transcendence, a story of second chances, perseverance and collaborative spirit that could work in any setting or any time.

3. Drive


Director: Nicolas Winding Refn
Stars: Ryan Gosling, Carey Mulligan and Bryan Cranston



A penny for Quinton Tarantino’s thoughts… having attempted the same kind of whizzing B-movie pastiche in his bloated 2007 effort Death Proof, The oft revered director must have been consumed by the green eyed monster after watching (If indeed he has) Nic Winding Refn’s dizzying Crime Actioner Drive. Rich in cinematic bluster and bursting with creative influences in something close to alchemic genius, Drive is the years biggest surprise. Ryan Gosling’s strength as a screen presence is he is a majestic talker The Believer (2001) being a hard boiled evidence. Yet his role as the semi-eponymous lead “The Driver” a part time getaway speedster/part time Hollywood Stunt driver , is closer to a Clint Eastwood like silent hero archetype - allowing his striking features and to the point actions optimal prominence. Following a botched heist the Driver and love interest Irene (Carey Mulligan) are unwilling left holding the loot and find themselves at the mercy of some nefarious mob characters in the process. Refn's  thrill ride delivers a poetic, operatic and ultra-violent experience topped with on of the best eclectic soundtracks you'll hear.

2. Senna 


Director: Asif Kapadia

"...charting a journey from Go-Karting ambitions to Formula 1 glory, exploring the vitality of a great sporting rivalry and uncovering the truths about a sport with a politically oppressive system. ....a celebration of a miraculous figure"



1. We Need To Talk About Kevin


Director: Lynne Ramsay
Stars: Tilda Swinton, John C. Reilly and Ezra Miller




"..Director Lynn Ramsey is in masterful form weaving together a tri-linear composite of hazy memories, comprising of barely conceivable early warning signs of the unimaginable. They are vignettes offering such subtle indicators as overly involved video-gamesmanship, odd breakfast time behaviours and other nihilistic virtues- Rounding it off with a bleak realisation of a life in tatters and the daunting task of picking up the pieces. There is a noticeable attention to detail through incredible visceral sounds of thumping heart beats and reoccurring themes of varying stains of red matter, Ramsey’s artistry is simply stunning..."

4 The Week

1. Some Think Old


Pale Rider (1985)


Director: Clint Eastwood
Writers: Michael Butler, Dennis Shryack
Stars: Clint Eastwood, Michael Moriarty and Carrie Snodgress

Set in late 19th century California Clint Eastwood directs and stars in this strong piece of genre as the archetypal lonesome stranger, who is a pretty handy guy to have around when a fist or gun fight breaks out. Masquerading as the “Preacher”, a source of religious allegory which sees Clint become a saviour and beacon of hope for a group of luckless gold digging settlers as they fend off the thuggish attention of a businessman laying claim to their homes. Say what you will about Eastwood but his work always has a deeper sense of meaning and beneath the pastiche is a story of cultural change during the birth of industrialised America, where machines gobble up the ways of the common man and erode the beauty of the surrounding nature. Pale Rider is a terrifically balanced and paced film which is a must for Eastwood fans.

8/10

2. Some Think New The


Rum Diary (2011)


Director: Bruce Robinson
Writers: Bruce Robinson (screenplay), Hunter S. Thompson (novel)
Stars: Johnny Depp, Richard Jenkins and Aaron Eckhart


 The Rum Diary is a film about the sobriety of the Amerian dream and its varying challenges. For some the challenge is alcohol and substance abuse, but for others intoxicants are less tangible characteristics or emotions such a love, greed and denial. Journo Paul Kemp (Depp) arrives in the lush spoils of 1960s Puerto Rico in a drunken haze, a tone that carries the film through its first hour – A first hour that is seen mainly via Kemp's comedic adventure into the belly of the beautiful island and the bosom of new friends including an edgy boss (Jenkins), drunken colleagues and seedy businessmen (Eckhart).

 Director Bruce Robinson’s tonal change of pace in the last hour almost feels like a sobering realisation, where the consequences of everyones actions come to light, and things are taken a little more seriously. However this doesn't detract from the sharpness of the witty dialogue, laughs and script which find an effective concoction of slapstick physicality and punchy anecdotal rambling. Depp’s on form performance is a key contribution and there are no weak links within the solid supporting cast, whilst the strong production, direction and above all humour make for an outlandishly fun watch.  

8/10
3. Some Think Foreign


O’Horten (2007)




Odd Horten is an Oslo based train driver having to come to terms with some difficult realisations, namely retirement, old age and loneliness. His risk averse nature and dour ritualistic lifestyle are about to be taken on an epiphanic journey when he gets lost on the way home from his own retirement party. Director and Writer Bent Hamer’s beautifully shot and beautifully sounding path to enlightenment is littered with peculiarity of character and circumstance as Horten’s encounters include Airport Terminal security, Red High-heeled stilettos, a senile mother, death, a child’s bedroom and best of all a free willed and spontaneous stranger (who enjoys driving his car blindfolded). A little one paced at time but this is a joyously dark comedy about life slapping you in the face when you least expect it.

7/10


4. Some Think Due


Hugo (2011)



Release: 2 December 2011 (UK)
Director: Martin Scorsese
Stars: Asa Butterfield, Chloë Grace Moretz and Christopher Lee

Plot: Set in 1930s Paris, an orphan who lives in the walls of a train station is wrapped up in a mystery involving his late father and an automaton.

Why Get Excited?: Legendary Director Martin Scorsese trades in Gun and Gangsters for Fantasy and 3D in this Family Adventure.

In Cinemas Now

The Help (2011)

Director: Tate Taylor
Writers: Tate Taylor, Kathryn Stockett (novel)
Stars: Emma Stone, Viola Davis and Bryce Dallas Howard 

A combination of white guilt and black uprising is the driving force behind the drama in “The Help” which looks back at an ugly time and place in US history through a distinctly feminine eye (the male cast members are mere token gestures). Jackson Mississippi is the place, early 1960’s the time where the lives of a disparate group of southern ladies unfold and intermingle, coping with the agenda heavy plight of their surroundings which covers everything from racial tension and domestic violence to less substantial yet equally rewarding avenues of coming of age triumphs of womanhood and friendship. 

With award season on the horizon this is an almost a sure bet for nominations and Viloa Davis as negro Maid Aibileen and the ever-plucky Emma Stone as budding journo and black sympathiser “Skeeter” will rightly lead the charge with likably rangy performances, neither would be possible if not for Bryce Dallas Howard career highlight portrayal of Hilly, whose spiteful and obnoxious nature incumbent of the era allows everyone else to mount the moral high ground. 

Everything here works, it’s a smooth feel good movie which is sugary but not too sweet, resentful but not too bitter and in the process captures an endearing light in an otherwise dark time. 



8/10

We Need To Talk About Kevin (2011)

Director: Lynne Ramsay
Writers: Lynne Ramsay , Rory Kinnear (screenplay)
Stars: Tilda Swinton, John C. Reilly and Ezra Miller

Certain parlances use the phrase “You’re either teaching it or allowing it to happen” and  it's debatable whether or not this sort of hard line stance on teaching and parenting works when dealing with such an incredibly tough subject meshed with remarkably complex emotions that are encountered in  “We Need To Talk About Kevin”.

Adapted from the novel of the same name this is a hauntingly transcendent experience which in its purest form is a film about an ordinary American family coping with an extraordinary evil before, during and after the aforementioned malevolence manifests itself through mass murder. 

Teenager Kevin (Ezra Miller) is to quote Heath Ledgers Joker “an agent of chaos” revelling in an introverted destructive nature which acts as force field to deny access to his true thoughts and feelings. There are shades of the Ricky Fitts character from Sam Mendes’ American Beauty (1999) in his mysterious and dark aura which inevitably originates from the darker recesses of family life, which in this case is the story of a broken maternal relationship. Tilda Swinton is the mother Eva, inwardly torn by the rejection of her affection by her first born,  and systematically broken by Kevin’s psychological prowess and abuse whilst father John C. Reily laps up his sons ostensible love. The cast strike up a dynamic chemistry which is fed by the divisive oedipal themes that in part drive the narrative, it’s slightly reminiscent of Ordinary People (1980) but with dread and terror replacing angst. 

Director Lynn Ramsey is in masterful form weaving together a tri-linear composite of hazy memories,  comprising of barely conceivable early warning signs of the unimaginable. They are vignettes offering such subtle indicators as overly involved video-gamesmanship, odd breakfast time behaviours and other nihilistic virtues- Rounding it off with a bleak realisation of a life in tatters and the daunting task of picking up the pieces. There is a noticeable attention to detail through incredible visceral sounds of thumping heart beats and reoccurring themes of varying stains of red matter, Ramsey’s artistry is simply stunning – Making this easily one of the years best films

9/10

1-2-3

1. Midnight In Paris (2011)

Film makers as they find themselves in the latter stages of their lives do one of two things – look backwards or look forwards. Unlike Clint Eastwood’s gloomy vision of the after life Hereafter (2010) Woody Allen decides to recount a golden age of artistry and Parisian elegance in Midnight In Paris (2011). A blend of fantasy and comedy are on offer here as Owen Wilson plays a budding novelist caught up in the beauty of the French capital whilst searching for artistic inspiration. Juxtaposed is fiancée Rachel McAdams a repressive force to his new found bohemian longing, the couple are looking for very different things from their idyllic settings. 

 

Wilson of course is Woody from 30 years ago with blinding neuroticism delivered pitch perfectly, and our central character finds himself in a Parisian Time Machine. At this point Nostalgia and the supporting cast come to prominence, we meet renowned literalists, surrealist painters and composers among others who revel in Gallic inspired artistic hay days. Allen cleverly conjures up his legends in a historical paradigm, which sort of plays out like a displaced episode of Friends. The dialogue is whimsical, light-hearted fare which isn’t ruined by the Allen constant of triangulated romance. In the end Midnight In Paris is an enjoyable piece of Allen comedy filled with whit and charm.

7/10 

The Three Musketeers (2011)

Alexander Dumas’ famous novel has seen as many on big screen, small screen, stage and animated adaptations as any piece of literature, but few have looked like Paul W.S Andersons latest version. Of course there are the signature archetypes of flashing swords, and heaving bosoms but Anderson attempts a fantastical spin on the tale with whacky weaponry and crazy constructs such as flying maritime ships. 

It’s the bona fide stupidity that feels as though it’s from the same world as the “Pirates – Franchise”, Which is both the films strength and weakness – The swordsmanship is full of entertaining cut, thrust with plenty cat and mouse action sequences, but the dialogue is riddled with corny cliché aided little by a mixed bag of a cast despite the top efforts of baddies Christophe Waltz and even Millia Jovovich shows that she can act, yet she also symptomatic of the films issues as her portrayal of Milady iscoupled with over the top gymnastic histrionics. The Musketeers themselves are a likeable bunch are outdone in the performance stakes by the enemy, as none have the charisma to make you want to cheer them on  – Enjoyable but forgettable at the same time.

6/10 

The Stoning Of  Soraya M (2008)

Cynics have and will write Soraya M’s story off as a mere anti Middle-East, American funded propaganda, the way in which the subject matter is handled paints a very bleak view of Islamic life in a patriarchal dominated rural Iranian village. However The Stoning of Soraya M is a film that should not be taken purely on face value, as beneath the surface lies a transcendent piece of topically fuelled drama laden with political, cultural and spiritual embattlement. Think of the inner turmoil in John Patrick Shanley’s Doubt (2008) with the vitriolic oppression of the anger inducing Mississippi Burning (1988), only in set Persian desserts.

The catalyst for the goings on is Ali a purveyor of patriarchal tyranny which manifests in physical violence and psychological bullying against his disenchanted wife Soraya, as well as unashamed neglect of his two daughters in favour of his two sons who witness proceedings in what in essence is a 101 teaching in misogyny. When Ali becomes a want away husband having fallen for a school girl from a neighbouring village, things turn ugly when his plans to emancipate himself from his marriage become a deadly plot. 

Faith and spirituality form key thematic structures, as Soraya and her devoted Aunt Zahra find a cathartic strength through their belief which carries them through the ordeal, and the unwavering power of their prayers  is emotionally taxing and somewhat beautiful. In contrast the Holy figure (Mullah) uses and abuses his status to feed his and his cohorts sycophantic desires, the irony being that the oppressors are the only ones to doubt their religion.

Spiralling toward the inevitably climax (the title gives little away) the film remorsefully savours every detail of the barbarously punitive method, which is both a calculating and morose ritual. The atmosphere created is mixture of sorrow, hate and joy - Not for everyone but Soraya M is a haunting tale of civil rights that is ultimately a disturbing yet rewarding watch.

9/10 

For 2011 (So Far)

Just over halfway through the year is a good time to review the year so far, so below is my top 5 up to now. You may notice some big omissions The Kings Speech, Black Swan, True Grit and The Fighter are not included mainly because they were very much 2010 films and only released in this Calendar year and country due to the Oscar machine.


5. Source Code 

Director: Duncan Jones
Stars: Jake Gyllenhaal, Michelle Monaghan and Vera Farmiga



Duncan Jones’ second feature doesn’t quite reach the heights of its predecessor Moon (2009) but there really is little shame in that. Source Code sees Jones again toy with high concept Science fiction but with a methodology more akin to summer block busting as opposed to his debuts more low key scale. Captain Colter Stevens (Gyllenhaal) is the soldier lost in a reoccurring mission that is half Groundhog Day and half Quantum Leap where he must enter the body of a stranger in an attempt to thwart the deadly bombing of the train he is aboard. What ensues are the conventional big budget synonyms of cat, mouse, chase, punch and explode. However Jones finds an inner warmth to proceedings in the shape of varying shades of romance, humanity, joy and sorrow. Resulting in a film that will engage heart, mind and soul.

4. Hanna

Director: Joe Wright
Stars: Saoirse Ronan, Cate Blanchett and Eric Bana




It really is testament to the qualities of film making when it can take an idea that has done to the proverbial death, yet induce some kind of freshness and originality out of it. In what should feel like a Luc Besson effort such as Nikita (1990) or to a lesser extent Leon (1994), director Joe Wright envelopes all cliché in a wondrous shroud of fairy tale thematics, gorgeous visuals and a near perfect cast who deliver just about all that could be asked. Saoirse Ronan may just be the best young actress on the planet at the moment and her performance as the eponymous, laser blue eyed, Germanic, child assassin equates to boarder line mesmerism. Adding to the piece are Eric Banna and Cate Blanchett creating a deranged oedipal dynamic which drives the simplistic structure of the plot, in which Hanna trained all of her life Erik( Banna) in isolation for the challenge of Marissa (Blanchett) she must encounter. In the process the real beauty of the film evolves which sees our heroine in an innocent mode of inner journeying and self discovery as a juxtaposition to the violence that is ingrained in bother her history and destiny.

3. Submarine

Director: Richard Ayoade
Stars: Craig Roberts, Yasmin Paige and Paddy Considine
 


Much in the way of the glorious (500) Days of Summer (2009), Submarine is a film about core generation X values. Richard Ayoade makes the jump from small screen actor to big screen orchestrator and writer in this delightful debut where he brings together a mesh of childhood memories and sappy teenage ideals. Everything here works the leads Oliver (Roberts) and Jordana (Paige) offer assured performances as the incongruent (He a cine-phile, she a pyromaniac), would be school boyfriend and girlfriend loners forging a relationship based on obscure romantics, adolescent exploration and an ambivalent sense dependence based on shared woes of of each others family strife. The superb supporting cast are tasked with portraying the ridiculous and the ordinary including home-wrecking mystics, depressed fathers, over supportive teachers and more. Ayoade’s directorial flair makes for a flourishing aesthetic, even finding the beauty of Swansea, whilst the comedy is fueled by witty dialogue it is also blackened by themes of adultery, bullying and terminal illness but never to the point of crassness. The finishing touch is Alex Turner’s dreamy soundtrack which galvanises this heartfelt, darkly funny and distinguished film – a real achievement.

2. Win Win

Director: Thomas McCarthy
Stars: Paul Giamatti, Amy Ryan and Jeffrey Tambor



American cinema is often at its best when operating in a mode of self examination, and in doing just that Thomas McCarthy unravels the functionality of dysfunction that resides within the post-millennial American dream and life. McCarthy pens a story very much of our time, Mike Flaherty (Giamatti) is the patriarchal arrowhead of his family, a practicing Lawyer who's facing the impending hardships of his failing career and business. When the opportunity arises to earn some much needed extra income as a carer for an elderly client circumstances converge to bring Mike in contact with a hapless and semi-homeless youngster named Kyle played with impressive understatement by rookie actor Alex Shaffer, the two are drawn together by their love of wrestling. Wife Amy Ryan’s maternal instincts are soon engaged and Kyle becomes part of the Flaherty clan. Win Win however doesn’t just wallow in the ideals of doing the right thing, there are plenty of shadowy  moralistic mechanisms in McCarthy’s script such as pity, forgiveness, inconvenient truths and general ambivalence between characters to allow his directorship to focus on invoking a range of bittersweet emotions and ironic humour. This is a rewarding picture of multi generational appeal and effortless charms.
 .
1.Senna 

Director: Asif Kapadia
Stars: Ayrton Senna, Alain Prost and Frank Williams

 It will be interesting to see if at some point anyone will attempt to give the life of Aryton Senna the full blown biopic treatment that many possibly would have preferred. However the thought of topping Asif Kapadia's triumphant documentary will however be a daunting task. Senna succeeds on every level – Visually it is an intrusive collage of uninterrupted clips  sharing all facets of the legendary race driver’s revered life, from grainy home video to polished FIA film. The Audio plays like a sombre eulogy as we hear voice after voice faceless interview footage broken up with words from the man himself. When put together the narrative is undeniably the strength of the film, charting a journey from Go-Karting ambitions to Formula 1 glory, exploring the vitality of a great sporting rivalry and uncovering the truths about a sport with a politically oppressive system. Of course the truth is this is a celebration of a miraculous figure Senna the man belied boy racer pastiche with a complex psyche, portrayed as on one hand an ethereal almost prophetic character, manifested by his talent, faith and mutual love of his country . On the other hand a cannibalistic competitor focused, irksome and rebellious in his nature. Gripping from start to finish Senna is a must see.

New X-Men: First Class (2011)

Director: Matthew Vaughn

Stars: James McAvoy, Michael Fassbender, Kevin Bacon and Jennifer Lawrence

Few things in Hollywood  have made as much sense as the decision to reunite Matthew Vaughn (Director) and Jane Goldman (Screenplay) for the latest Marvel comic endeavour X-men: First Class (2011) following the blustering antics of cult hit Kick Ass, which traversed effortlessly between realms of comic book hero pastiche and spoof mockery.

This latest X-Men project's  first issue however is in its classification which is lost somewhere along the line, officially it is a prequel to Bryan Singer's work when he first brought the story to the big screen over a decade ago with X-Men (2000) and a follow up X2 (2003). Singer who took a back seat for the third installment, the franchise butchering  X-Men: The Last Stand (2006) makes up part of the production team this time around, so there is the lingering presence of the early franchise but equally a distancing combination of new faces and places . The second issue is the script which was rewritten twice due to what essentially is a merger of ideas between a Magneto Origins spin-off (which is how the film started out)  and the remodelling of the X-Men story, and for the first hour of the film there is a clearly evident conflict in what the film wishes to achieve.

At its heart we have a revenge story - Erik Lehnsherr (Fassbender) the would be Magneto is the Holocaust surviving mutant with the ability to manipulate metals, looking to avenge the murder of his mother at the hands of Kevin Bacon’s ubiquitous Sebastian Shaw, a deranged and destructive leader of malevolent mutant gang. Completing the triangular affair is Charles Xavier (McAvoy) a clandestine physic mutant and budding professor, who is hired by the US government to forge a gifted task force. The feelings of vengeance are deflected into obscurity somewhat by the politically driven motives of all involved which is cleverly worked into the narrative through the histrionics of Cold War paranoia and the Cuban Missile Crisis. 

 

All of which means the young X-Men are for relegated to subtext anonymity for long periods, whilst the big boys talk politics or ideologies the adolescents ponder more personal and inflective feelings like identities and acceptance. In one section of the film the unsuspecting heroes are effectively shoved into a room almost as if to buy Vaughn some more time to figure out what to do with them. At this point things feel rather clumsy as we are introduced very quickly to their powers as well as less tangible weakness’, but in a rather unbalanced fashion from unearthing a potential love interest to circus trickery.   

What saves the day in the end is a combination of power house aesthetics,

 which manifests itself in anything from seismic action sequences to gorgeous 60’s nostalgia. And Fassbender’s magnetic (excuse the pun) performance which paints a portrait of man equally at odds with himself and the world, bringing a menacing tenacity to proceedings. 

Still not the finished article for Marvel though, whose big screen adaptations seem intent on having one eye on the future promises instead of making something for the here and now, but interesting enough for comic book lovers and newcomers alike.

7/10