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.

Hugo (U)

Happy Christmas readers! Hugo is a perfect family film, for this time of year especially. (To my readers in South Africa, unfortunately you'll have to wait until February to see it)!

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

Hugo (U)

Martin Scorsese’s first foray into family entertainment has produced one of the very best films of the year. Hugo is an orphan living in a 1930s Paris rail station. Skilled with mechanics and in love with the movies, he lives a lonely existence maintaining the stations complicated clocks and trying to mend a robot left to him by his father. Ever dodging the dastardly Station Inspector, Hugo’s adventures bring him to a mysterious toy shop owner and his bookish daughter Isabelle. As Hugo and Isabelle form an unlikely friendship the tale of the boy’s past unfolds, interwoven with the history of early cinema.

Best known for his violent and bravura gangster movies, here Scorsese brings every ounce of his virtuoso directing skills and unrivaled technical mastery to younger audiences. A champion of film preservation, Scorsese uses Hugo to share his love of cinema with a new generation, and as the credits roll many parents are going to be hearing their little ones chirp “I want to be a film director when I grow up!”

That said, compared to more typical family adventure films Hugo is likely a little on the slow side for some. For each exhilarating chase through the crowded station there are two or more flashbacks to the dawn of filmmaking, with beautiful recreations of early films such as the seminal ‘Le voyage dans la lune’ (1902). While magical and inspiring for most, it may be less engaging for very young children.

The story’s theme is rediscovering purpose: Hugo tries to work out what his father’s robot is for; a retired filmmaker is reminded what he was born to do, and Hugo and Isabelle wonder how they fit into the world. The point is that if we lose our purpose in life then we are as broken as Hugo’s robot, and the teaching in the book of Ecclesiastes’ that there is nothing better than to find contentment in whatever God has given us to do, definitely resonates with that.

Chloë Grace Moretz is charming as Isabelle, and although Asa Butterfield is not quite as good as the title character he still does plenty to win the audience’s empathy. With the cast also featuring greats such as Ben Kingsley and Christopher Lee, and the cinematography showcasing the best of use 3D to date, Hugo is an emotional, edifying and truly exceptional silver screen experience for all ages.

The Ides of March (15)

Recently nominated for four Golden Globes and still in cinemas (just), The Ides of March is one to watch this awards season.

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

The Ides of March (15)

Opening with a speech about a politician’s religion being the Constitution of the United States, The Ides of March is a clever political thriller of the highest quality. The title comes from the date in the Roman calendar on which Julius Caesar was assassinated, and the plot is rife with backbiting and deception. Ryan Gosling is superb as Stephen, Junior Campaign Manager to George Clooney’s Democratic presidential candidate Mike Morris. Stephen’s loyalty and ideals are tested as multiple scandals threaten to surface.

As well as starring, Clooney directed and co-wrote the film, and being a self described political liberal he clearly intended to make a point. The point would seem to be a mixture of generalised lamenting over the extent of corruption in politics, and a frank admission that even the best of us aren’t completely innocent. Isaiah 64:6 says ‘...all our righteous acts are like filthy rags’, and it is striking that even before Stephen loses his supposed innocence, he is already neck deep in lies and spin.

His troubles start when he begins an illicit relationship with intern Molly. What seems to them just a bit of fun soon turns out to be the opening of a Pandora’s box of nightmares. Once again Hollywood inadvertently illustrates how much damage could be prevented if society stuck to the Biblical principle of reserving sex for marriage.

Clooney and Gosling aside, the film boasts a dazzling cast of fine actors. Paul Giamatti plays the opposition’s experience hardened campaign manager; Marisa Tomei is a reporter who’s allegiances stretch no further than her latest story will allow, and the great Philip Seymour Hoffman gives yet another scene stealing performance as Stephen’s senior manager Paul.

The script powerfully brings home many truths that secular society is quick to ignore, with personal responsibility for action and inaction being high up its list of themes. When Stephen tries to excuse his campaign threatening behaviour, Paul cuts him down to size with the line ‘... you didn’t make a mistake, you made a choice”: a distinction which leaves the fresh faced protagonist speechless.

Clooney’s direction is solid and polished, and with surprisingly few direct parallels to 2011 American politics, rather than missing the mark he has had the ambition to make a film that might have the same impact it has today even decades down the line. Consummate, entertaining and honest, Ides is an eye opening must watch.