War Horse (12A)

Nominated for 5 BAFTAs and 6 Oscars including Best Picture at the Academy Awards next month, here is my review of Steven Spielberg's War Horse, still in cinemas.

This review was first published in The Methodist Recorder (www.methodistrecorder.co.uk).

War Horse (12A)

Based on the children’s novel and acclaimed stage production, Steven Spielberg’s War Horse tells the tale of Devon boy Albert and his horse Joey, which Albert must rescue when he is sold to the army in WWI.

The story is a deliberate tearjerker, especially for animal lovers and younger viewers who make up most of its intended audience. For others all the melodrama, tears and heroics may seem over the top when centered around an animal. A major weakness is that Spielberg doesn’t well enough set up why we should care about Joey, let alone empathise with Albert who even puts his own life on the line for him.

For those forgiving enough to see past these flaws, War Horse will reward with a powerful cathartic experience. The story’s simplicity is a strength, with little time wasted on peripherals beyond the core element of a boy and his horse, which splits into parallel plot threads once they are separated.

Spielberg shows brilliant restraint as he portrays the cruelties of war in a way which is suitable for most children. Almost never do we see impact or injury in the excellent battle scenes, with a lingering shot of the aftermath being plenty to tell the story.

The visuals are a rich and colourful feast for the eyes. Almost miraculously the cinematographer has transformed the bleakness of Devon into a world of soft sunlight and glowing English charm. Contrast that with the dark and smokey No Man’s Land, a place of horrors that becomes a stage on which Joey teaches both sides in the war something of the humanity they lose in fighting each other.

Made more likable by healthy doses of good humour, the film’s close to two and a half hour running time races past comfortably. Peter Mullan is wonderful as Albert’s defeatist father and Benedict Cumberbatch is terrific as always, here playing a cocky British Major.

Worthy themes of bravery and sacrifice abound, but when in relation to a soulless creature it becomes hard to contrive much worthwhile Christian comment. Suffice to say it brings Psalm 33:17 to mind.

For those wise to the heartstring tugging mechanisms used however expertly by the director, the film can be occasionally irritating. Faults aside, War Horse will satisfy most and leave them with a genuinely warm feeling; but anyone looking for much more than that should look elsewhere.

The Help (12A)

The good people at The Methodist Recorder (www.methodistrecorder.co.uk) have given me permission to post the reviews that I write for them on here, with a wait of a couple of weeks from when the paper goes to print. My reviews for them are (unsurprisingly) more geared towards Christian readers.

Here we have The Help, which is still in cinemas and well worth a look:

The Help (12A)

The Help is a heartwarming tale set in Mississippi during the 1960s Civil Rights Movement. Local girl Skeeter is the only white person in her town with an affinity for the black maids who work in the white middle class homes. She alone seems moved by their mistreatment, and so she sets about using her skills as a writer to produce a book to shed light on their untold plight.

Based on the best selling book by Kathryn Stockett and directed by relative newcomer Tate Taylor, The Help deals with issues that aren’t perhaps as relevant in 2011 as they were in their day, but which do certainly conjure themes that are timeless and goldmines for truth about the human condition.

A lot of effort has gone into recreating the period, and the authenticity is enhanced by the absence of any big name Hollywood stars, bar perhaps guaranteed future star Emma Stone as the naïve but assured Skeeter. Visually the film glows with an inviting charm, making the story and experience it has to offer all the more appealing.

Unusually for a film on wide release, there are moments which unmistakably portray Christianity not just with respect, but also as a positive and constructive worldview. In order to write her explosive book Skeeter must persuade enough maids to be interviewed, at great personal risk to each. Both fear of God and conviction of what is right are clearly shown to be deciding factors in the maids’ decisions to stand up for what they believe in.

If there is a villain in the film then it is Hilly Holbrook, a bitterly racist prima donna. She is brilliantly portrayed with malevolent relish by Bryce Dallas Howard. Octavia Spencer is hilarious as the feisty and daring Minny, a maid who’s candid contributions prove crucial to Skeeter’s chances of success, and Viola Davis represents The Help’s best hopes for Oscar glory with her emotive performance as Aibileen, the bravest of Skeeter’s interviewees who has many stories of her own to tell.

The Help deals with a very dark period of history, and effectively considers themes ranging from hypocrisy through to friendship. In doing so Taylor has crafted a film that is thoroughly entertaining, and yet totally dignified in it’s reflections on racism, even boldly including the passé view that if you can love your enemy, then victory is yours already.