The Fighter

Mark Wahlberg could be forgiven for being more than a little hurt by the academys ignoring of his performance in "The Fighter". Wahlberg has spent the better part of ten years trying to bring the project to life. The film as it exists today, and that it is as good as it is, is down mainly to Wahlbergs persistence. After going through a multitude of different directors and actors, and non stop grueling boxing training sessions, it looked like the film would never see the light of day on more than a few occasions. But his dedication paid off. In Wahlbergs career so far, "The Fighter" is his towering achievement. Sure, his performance has been unfairly overlooked elsewhere, but as producer the man can safely take credit for the films success. Make no mistake, this is a Mark Wahlberg film. Of course the hiring of personal friend David O. Russell to direct was a masterstroke. At one point Darren Aronofsky (among plenty of others) was tapped to direct, but his indecision at stepping back into the ring so soon after "The Wrestler" led to O. Russell taking over. He retains his executive producer credit here and looking closely it was probably for the best; would Aronofskys naturally dark and glum style have lent itself to an uplifting underdog sports drama? Russell and Wahlberg of course have worked together two times previously. "Boogie Nights" and "The Departed" aside, O. Russell has been the only director to consistantly have been able to get a performance out of Wahlberg. As frustratingly hit and miss as he is, it is easier still to dismiss his films. For every "Three Kings" there was a "Max Payne". Wahlberg is a better actor and more savvy than a lot of people give him credit for. A lot of his films certainly are lacking in areas, but it seems he knows fully what he is doing. His more recent attempts at blockbuster status could be seen as paving the way for "The Fighter". Without those, he could have not have made or funded it. The truth is that the fact that Wahlberg initially seems like an afterthought to this film, shows he has done his job as far as his role was concerned. The real life Micky Ward does always struggle to get a word in edgeways when surrounded by his Brother and Mother. If Wahlberg takes a step back and lets his co-actors take the glory, then it could be argued that thats only because that is what the real life Micky Ward has done. And by that measurement, Wahlberg gives quite possibly, the very best performance of his career so far.

What are all great boxing films really about. Certainly not boxing. Sure, the sport features, but it is not what the film is ever truly about. As a non boxing fan it seems odd that my possible favourite film of all time is "Raging Bull". I never watch boxing on television. This is because the idea of two grown men beating each other up holds very little interest to me. Not without knowing the background of these people. The psychology is incredibly engaging; why do these men willingly choose to spend their life taking a beating? Of course in the best sports films, the metaphor of the sport always serves as something else. "The Fighter" is not about boxing. It is about family. Managed by his all-domineering mother (a great Melissa Leo) and trained by his crack addicted brother Dicky(Christian Bale), Micky's commitment to his family was (again, like Wahlbergs commitment to his story) unwavering and seemingly at the detriment to his own career. They might all have noble intentions but they are dragging Micky down with them. At thirty something years old, Micky took his very last shot at becoming a success and went on to fight for the welter weight title. As the trouble making attention seeking older brother Dicky, Christian Bale is a revelation. Charasmatic but selfish; likeable but dishonerable, Bale nails the very conflicting mindsets. Bale has been much quieter in his roles in the past few years, so it's great to see he still has what it takes to be a method powerhouse when it comes to his parts. His dedication to Dicky is incredible and he completely immerses himself in his part. Much has been made of his repeated weight losses for his films, but here it only ever adds to the character. Of course looking at Dicky, it is obvious what he is, but Bale is pitch perfect in getting into the mindframe of the real life version. As strong as his competition will be on oscar night, he deserves to take home the gold statue. Speaking of which, it is safe to say he will be joined by Melissa Leo as the mother and manager of Micky, and the family. She reigns supreme and strictly governs and protects her family life as she does Micky. With her sprayed hair and venomous tongue, she cuts a very intimidating figure indeed for Mickys new love interest Charlene (AmyAdams). Not to mention Mickys seven sisters all holding a grudge against her and it takes a very special lady to stand up to them to protect Micky, but that is what Charlene does. Breaking type, Adams is fantastic; sassy, tough, but also nurturing and tender. The problem is that each member of the family has noble intentions for Micky. If only they can each let their egos from overtaking the spotlight, Micky could be the great success he has it in him to be. One of the treats of the film is rendering the family at all times loveable, in some warped way despite all the nefarious things they do and how they act. They all love each other and to them family is the most important thing in the world.

It might have been easy for some directors to go heavy on grittiness of our characters and themes, but very wisely O. Russell simply lets the characters be. Sure they are sometimes ugly but they are never less than real. The dynamic is the most important ingredient and O. Russell handles it wonderfully. Of course this also leads to some fantastic scenes of humour; with a family like this, how could it not be? He brings out the best of his cast and story and manages to keep the possibly too bombastic story on track. Bale and Leo offer incredible performances, but that is only because the film is anchored in Wahlbergs self assured lead. The central relationship of Micky and Dicky is what drives the film. While the films many fantastic HBO style boxing scenes will bring all the fireworks, it is the love between two brothers that will be the long lasting impression left on you. At the end it is there for all to see: it's easy to take a few punches, in time those scars will heal. The deeper scars caused by those you love in trying to keep everyone together is what will always cut deeper. And it is all down to Mark Wahlberg.

Verdict: 83%

A fantastic sports flick and the best boxing film seen in quite some time. The film is funny, touching and moving, all bolstered by stunning turns from everyone involved. A possibly predictable story is shot through David O. Russell's assured eye and long after the glare of the fights scenes have faded, it is the touching dynamic of the family that will linger inside.

"The Fighter" Trailer

Conviction

Real life stories by their very nature, face an uphill struggle with just how invested audiences are going to be with the tale. Most of the time, we all know how these types of films are going to end up. Recent examples like "127 Hours" offered us existential questions not only about our protagonist, but also our own lives to side step this problem. "The King's Speech" offered a delectably told story about the friendship between two very different men under the heavy shadow of World War II. They also had endings that anyone with access to a library or computer could discover very easily. It was about how they told their stories rather than the outcome. Simply put, with films such as these, it's the journey that counts, not the destination. Shame then that "Conviction" falls into the narrative trap. If we all know how the film is going to turn out, then why should we spend two hours getting there? To be fair the true life story "Conviction" is based on is extraordinary in itself. It was simply begging to be turned into film material. If this is going to be the case then, it must offer the audience more substantial meat to chew on. Unfortunately for"Conviction" it very easily finds itself falling into 'TV movie-of-the-week' territory.

In 1983, smalltown trouble maker Kenny Waters (Sam Rockwell) was wrongfully convicted of the murder of elderly woman Katharina Brow. Kenny had no where to turn for help. With a corrupt officer out to get him, no money to defend himself in court and a history of volatile behaviour, he was sent to prison for life. His loving sister Betty Anne (Hilary Swank), seemingly the only one left fighting for his innocence then took it upon herself to defend her brother. Over the course of twenty or so years, Betty put herself through school and college to earn her GED, her bachelors, her masters and eventually her degree from law school. Her support and duty to her brother was stunning, but even after straining every relationship in her life to achieve this, she still had to find the evidence in order to prove her brothers innocence. As the siblings our two leads are unfaltering. Swank shows unreserved courage and dignity in her determination at setting her brother right, when everyone else has turned against him. Her vulnerability is touching at times, especially in a later scene asking her two sons would they do the same for each other. The real Betty Anne of course did something many of us would have to think long and hard before ever undertaking. With so much going against her, her almost entirely unwavering obligation to her brother is very inspiring and Swank conveys this very well. As Kenny the never less than reliable Rockwell delivers another nuanced performance, as is typical of him. His range knows no bounds, and with any role he finds himself perfectly at home there. I am an unashamed fan of his and would gladly watch any film featuring just him and him alone, as the classic in the making "Moon" ably demonstrated a few short years ago. The supporting cast also add nice touches to the film. Driver who I have not seen in anything for quite some time brings an understated and much needed dose of humour and spark to proceedings. Melissa Leo, carving out a very respectable career for herself as a reliable character actor, again delivers as the officer with a grudge to Rockwells character. However out of them all, it is surprisingly Juliette Lewis who impresses most as the woman who may or may not hold the key to Kennys innocence. In just two short scenes she leaves a lasting impression on proceedings and easily walks away with them.

Yet again, the main problem however falls mainly down to the director and script writer. Director Tony Goldwyn, who some might recognise as a very decent character actor in his own right, unfortunately does not grasp the material as immediately as he should. Events carry a flatness and never really shoulder the dramatic weight that they should. Worse still, the script only accentuates these problems. The real life story, being as strong as it is thankfully keeps proceedings on the rails, but it never seems willing to delve further into the darker implications a life wasted and a life given can have. Worse still, a very tragic and shocking accident that happened six months after the film ends is completely excised and not once mentioned in order to achieve a happy ending. Surely with the films many shifts in chronology such an important fact could have been worked into proceedings. I won't spoil what it is here, but the fact that it might render a 'what was that all for?' reaction in the audience might count as a reason but surely a better handling of the material could have found a way to make it work.

Verdict: 58%

Two leads impress as always and the real life story the film is based on is far too incredible and dramatic in its own right to ever render the film fully 'boring'. But the lack of focus on characters as opposed to plot ends up conveying the same reaction you could get from reading an article about Betty Anne and Kenny, and in far less time. Nice but insubstantial TV movie fodder.

"Conviction" Trailer

The King's Speech

What a fantastic tribute to film making that "The King's Speech" is. Against all odds, this relatively intimate, independant, character drama, has gone onto great success in theatres all over Europe and USA. That a film like this has registered with audiences as it has is very surprising indeed. Look at the factors: An historical drama, set on the cusp of World War II. No major movie megastars at its disposal. An independant, character based, period film. A film that takes its main plot points in the simplicity of two middle aged men becoming friends. Not to mention, that in its own way, the film could be seen as slight and predictable. When was the last time you saw a film like that connecting with audiences on the scale that this film has? And yet, "The King's Speech" is an absolute joy and pleasure to behold from start to finish. Because you see, some of the things the film had going against it, are the things that make it seem so fresh and personable. The wonder of simple storytelling is all it ever takes to transport the viewer into something special. That combined with some of the most fantastic acting you may see all year, brings me to the fact, that even under the stiff competition of other strong films being released this awards season, "The King's Speech" more than holds it own, and may in fact may be the most special of them all.

When a film begins there can sometimes be a sense from the off, that this is going to be something special. It is rare, but when it happens, there is a sure sense of satisfaction and pleasure. This can be down to a choice of music in the soundtrack, a camera flourish or even a simple line of dialogue. In "The King's Speech" it is the opening introductory shot of Prince Albert, waiting nervously in the wings to go on air. His impending fear and anxiousness is palpable. With a simple, yet subtle expression, our protagonist has immediately won us over. This is a story we want to see and hear. Prince Albert (Colin Firth), lovingly referred to by family and friends as 'Bertie', has a crushing and debilitating speech impediment. In his requirements to give regular public speeches his stammer is excruciating, with each pause lasting for what seems an eternity. His wife, Elizabeth (Helena Bonham Carter), fearing her husband has given up hope of ever being relieved of his speech obstruction, turns to common speech therapist and failed actor, Lionel Logue (Geoffrey Rush). Through a variety of unorthodox and quite funny techniques, Logue slowly but surely begins to improve Berties stammer, along with slowly becoming friends with the Prince. It is only after Berties older brother, Kind Edward (a sly Guy Pearce) abdicates the throne in late 1936, that the shy Prince realises he will have to step up to the biggest challenge of his life. At the outbreak of war, can the new found King, so unsure of his words and self, successfully rally the nation behind him and provide the encouragement and support it so greatly needs?

The cast is filled by some stunning turns. As Logue, Rush is marvelous; it is no coincidence that all his characters name is missing, is the 'dia'. Through ways that confound, and sometimes anger the future King, the Aussies elecution lessons provide searing insights into Berties past and help him find the confidence inside he will need to succeed. Director Hooper takes liberties with such scenes; it was never known just exactly how Logue treated Bertie, but the humorous and very entertaining means he goes about it will delight and move, in equal measure. Bonham Carter provides vibrant support as Berties wife. Her love is a constant inspiration to him and gives him the strength he needs to go on. As the reluctant King, Firth is spellbinding. Going against the natural flow and rhythm of an actor, he delivers lines with warm vulnerability; he is aware of his impediment, but will not let it rule over him. We can see the constant chagrin it is to him, not only through his stilted sentences, but also through his eyes. Those closest to him know Bertie has it inside him to succeed as a very worthy King, but if only Bertie knew that himself. As a result, it paints the Royal Family in the best light seen for quite a while. For the first time I can remember, they are relatable. Through Berties stammer, it grounds the family in a manner that all can feel a certain bond to. We all want Bertie so succeed. While Michael Gambon and Guy Pearce all lend reliable support, the film belongs to Firth and Rush. It is their growing friendship which forms the backbone of the picture. These scenes are wonderful; at times funny, sad, insightful, subtle yet bombastic, Director Hooper does a wonderful job with the material. He shoots large throne rooms of the sovereignty with a cold eye and lets the central friendship be the warmth. Through simple framing he helps provide significant insight into his characters mindsets.

The film is an incredibly warm one. While being very entertaining and crowd pleasing, it never forgets to do justice to its characters or story. Some films might have cast a more sombre eye over King Edwards abdication, something that turned the Royal Familes reputation upside down, but therein lies the simple beauty of this film. Hooper shows us something we may not have initially known about, or that on first look may not have seemed like compelling viewing. Here he passes with flying colours. With previous efforts such as "The Damned United" he demonstrated flickers of talent, yet here he demonstrates his true filmmaking capability. That many have sought out to see this picture and its recent box office success (Rush himself never thought it would go onto become the success it is), shows that audiences are hungry for simple and very classy storytelling. It may initially seem like Academy hungry fare, with little or no true spark. However, the script is considerably witty and the incredible true story is stunningly executed. With a blinding cast and some of the most funny/touching male bonding scenes you may see all year, "The King's Speech" deserves to be front and center when the envelope is opened on February 27th. A wonderful film.

Verdict: 89%

Aided by a stunning cast, Tom Hooper delivers a rich, rewarding and very entertaining drama. Going against what is expected of the genre, he crafts a crowd pleasing and very affecting tale, one that anyone can get behind and root for. The cast all exhibit high standards and it is unlikely that you will have a more endearing film experience this year. And 2011 has only just begun.

"The King's Speech" Trailer

127 Hours

Danny Boyle certainly knows how to put his audiences through the wringer. The reason a lot of his 'happy' endings have the effect they do, is because he knows how to make his audience work for it. Would Rentons declaration to 'choose life' at the end of 'Trainspotting' have been as sweet had we not witnessed the drug dens, the psychotic friends, and hopeless spiraling descent into drug abuse that we did. Would '28 Days Later' have had the same relief in its coda, without going through the loss and breakdown of society and humanity, had we not felt like we had been through it all with our heroes? Would 'Slumdog Millionaire' have been the feelgood film that it was, had we not had to endure child slavery and torture, in a crime ridden India before our two romantic leads could finally be reunited? When Boyle offers a happy ending in his films, not that they're common mind, it is based on his knowledge that the higher the trauma, the higher the catharsis. Put simply, we want the protagonist to pull through in a Danny Boyle film. And now, with '127 Hours', it is no better evidenced. Quite simply, as much a testament to Danny Boyles incredible film making, as it is to the unbelievable true story it is based on; it is the first film of 2011 to be seen here and it's a belter.

In 2003, mountain climber and reckless adventurer Aron Ralston (James Franco) went out hiking in the Blue John Canyon in Utah without telling either friends or family where he was going. Tragedy struck when Ralston accidentally dislodged a boulder in a small canyon, trapping his arm against the rock wall. Left alone and isolated with minimal chance of rescue or survival, Ralston is left to muse on his life, and the choices that led to this point. Now it may initially seem strange for a director as visually gifted and kinetic as Boyle is, to lend his eye to a completely static and lifeless location for the duration of the film. But that is exactly why none other than he could pull off a film like this with such visceral force. The film simply brims over with life, color and energy. While other directors might have played up the very small time limit Ralston had to extricate himself from his nightmare for tense and ultimately more shallow entertainment purposes, Boyle seems more concerned with the existential musings behind it all. As a result, the ordeal cuts that bit more deeper in the viewer, no pun intended. Yes, the ways and means Ralston tries to free himself are incredibly tough and hard to watch, but that is only because Boyle knows the release and absolution must be akin to something the real Ralston went through in order to achieve the desired results. Not that that makes it any easier to endure.

As Ralston, Franco gives the very best performance of his career so far. Spending much of the film on his own, he holds every ounce of our attention. His gift lies in the sheer range he has. Coming from his comedy roots and matinee idol good looks, he has portrayed very different characters across his career. A glance across his CV shows that while there have been attempts at blockbusters and classic leading man status, Francos best roles have been actually more character driven parts. A very solid co-starring role in 'Milk' showed his determination at being considered as a more serious actor, to go along with his more broader comedy output. Here he is a revelation and for once plays to all his strengths. Ralston was reckless bordering on arrogant. His sure positioning of himself as infallible was always going to be his downfall. When the boulder finally gets lodged in its position on top of Ralstons arm, his initial reaction is one of disbelief. That it would be this boulder rather than something altogether more grander that would trap him is unthinkable to him. He will not be beaten by something as insignificant as this. But beaten he is. His cocksure audacity and unflinching confidence soon gives away to anger, and then helplessness. It is only when Ralston can take responsibility for his actions that have led him here that it makes way to acceptance. The dawning when it happens, is just as significant to Ralston as it is the audience. We can't do everything on our own. We need friends and family. We need other people in our life. Otherwise everyday is just surviving. Ralston doesn't want to just survive anymore, he wants to live. The results of this are incredibly emotional for the viewer. Filtered though Franco's fantastic performance, we put ourselves in his place - would we actually be able to do what Ralston did? Of course Ralston was resourceful. Not many regular people would ever find themselves in the predicament that he did. Not that it should ever take Ralstons ordeal to learn what he learned. Through his daydreams and delirious visions, we should always remember to never take anything in life for granted. If anything, the film should be a reminder of that in all of us.

Boyle films the tragic consequences with his typical flair. Events never once become dull or boring. The resolution, when it finally comes is as unbearable as it is unflinching. When it happens, there is almost a sense of relief that this man is finally taking his own survival into his hands, no matter how grotesque to watch it may be. Reports of people fainting at the crucial point on initial screenings are so far unfounded. Not that it would be hard to imagine; Boyle's location is realistically and astutely detailed, despite half of its filming in a studio. The build up is so well defined and depicted that the solution, when it happens is far harder to take than most grand guignol films could ever muster up. And when it's over we are left, not with horror, but with a sense of uplifting fervor. Gain, not loss is what registers. And that is testament to Boyles skill as a filmaker. 2011 has just begun and so far Boyle has delivered one of the sure to be year greats.

Verdict: 84%

Aron Ralstons five day ordeal is given the Danny Boyle treatment. His high benchmark of stunningly edited sequences and soundtracked to a glorious score is again masterfully maintained. As gut wrenching and hard to stomach as it is emotional, the final feeling left with the viewer is in fact, one of incredible elation. James Franco gives a triumphant performance and the film deserves all of its awards and adulation sure to be coming its way.

"127 Hours" Trailer