Far From the Madding Crowd

Thomas Vinterberg, 2015

IMDB

3/5

Madding Crowd can be simply described as a love story, but it's a story that doesn't really have simple love. It gets complicated. Based on the Victorian novel written by Thomas Hardy, it's a story that is centered around young heiress Bathsheba Everdene (Carey Mulligan). Bathsheba is surprised to find herself the recipient of a large inheritance part of which is a large farm plantation.

Carrie Mulligan is a pretty good fit for the role, possessing that adorable Carey Mulligan-like charm coupled with a confident seriousness that she has shown in Drive and Steve McQueen's under-rated Shame. Bathsheba is a independent character by nature, quick to break tradition as shown early on when she admits that she's resistant to become another man's "property" and eager to get her hands dirty on her farm. While she is on the receiving end of good fortune, the men that surround her are victims of misfortune. Shepherd Gabriel Oak (Matthias Schoenaerts) loses his entire flock in heartbreaking fashion early in the story. Neighbor and fellow wealthy person William Boldwood (Michael Sheen) has become lonely to the point of desperation in his life. He's been able to accumulate large wealth while poor in his pursuit of lasting romance. Sergeant Francis Troy (Tom Sturridge) is still licking his wounds over a wedding disaster.

Vinterberg is skillful in creating a compelling adaptation of the classic novel. Mulligan is engaging in the lead but still leaves the question hanging of whether or not she is the type of actress really fit for leading roles, or better in more secondary supporting ones. The film gives you a lot of the beautiful English countryside to gaze at. Vinterberg, as he also shows us in the still under-rated and exceptional The Hunt the he loves to shoot scenes in churches. It's interesting, there are subtle similarities in style in Madding and The Hunt, even though they are completely different types of stories. Madding Crowd is a hearty film and builds up to an emotionally tense climax that will certainly leave you reflecting on the events that occurred. 

The Theory of Everything

James Marsh, 2014

GoWatchit

3/5

This biopic shows the life of renowned physicist Stephen Hawking (Eddie Redmayne) from his college days at Cambridge to his later years after suffering a rare neurological disease.

Theory is just a simple love story between two simple people. Nah, not really. It's actually a complicated love story involving a sweet young English girl named Jane (Felicity Jones) and a theoretical physicist who happens to be one of the most brilliant minds of our modern history. The film begins in Hawking's college years. His life is similar to that of many college kids. Roommates, beers with with buddies, busting chops. He has surrounded himself with loyal friends. They are close, respectful of each other. They encourage each other in their successes. Maybe that's an English thing. He meets Jane and it's quite obvious that it's love at first sight. There is the obligatory boyfriend roadblock that Stephen must endure (shortly) but after he does the sparks fly. But it's a unique relationship in the sense that Stephen can literally quantify the atomic mass of those sparks to interested Jane. Theory sort of takes on the Good Will Hunting approach of showing the guy working away on the chalkboard. He may as well be writing Chinese poetry for those who aren't fluent in advanced physics. But fortunately for dummies like me, the movie is more about the relationship between Jane and Stephen. And of course his sudden tragic illness. His illness hits at a point that is normally a healthy peak for most young men. At an age where most young men feel invincible. And why wouldn't they? You can literally go out with your mates and throw back pints all night and not even have a trace of a hangover the next day. Stephen is told that he has two years to live, misdiagnosed with Lou Gehrig's Disease. The doctor describes how his body will shut down slowly to the point that he will be completely paralyzed. He is quick to ask about his brain. Of course in pure ironic fashion, his precious brain will be unscathed. It's not only Stephen that realizes that he has this precious mind. Everyone around him is stunned to hear the news, and you get a sense that everyone is eager to preserve Stephen's mind. Jane is the one willing to take on the biggest workload. Through sickness and through health, as the saying goes. Her patience is tested, her commitment to the marriage. The movie examines the personal sacrifices and the devotion to your mate. Dealing with the unpredictable elements that life throws at you. Stephen can look up to the sky and make advanced calculations and probabilities of the universe, but he is so limited that he must rely on poor Jane to put his sweaters on or to feed him.

It's a really nice looking film. Lots of shifting colors. There is a constant golden glow that is reminiscent to fellow sharp mind story Limitless. Felicity Jones proves that she's one of the better young actors working right now. And Redmayne, well his performance is nothing short of remarkable. He so impressively manages to push through his physical deterioration with such authenticity and careful restraint. His smile shifts to one of young innocence to one of pure struggle as the story progresses. But it's a film filled with good acting - not one bad performance. It will have you appreciating the things you have, the people around you. You will sympathize, you will try to understand. Figures like Hawking are rare gems. Many are aware of his scientific achievements, but it's welcoming to see it on film. This biopic is right on time.

Last Passenger

Omid Nooshin, 2014

Can I Stream it?

2/5

Lewis Shaler (Dougray Scott) is on traveling with his son Max (Joshua Kaynama) on a commuter train in London when a hijacker takes control and compromises their trip.

Last Passenger has something going for it for during the first half to three quarters of the film. At the beginning of the story you sit on the train with several strangers. There are the quintessential loud folk, talking and shouting. There is the drunk guy who won't put out his cigarette. There is the silent older guy. Quite typical characters. But things zero in on Lewis, his son Max and pretty woman Sarah (Kara Tointon) early. They strike up conversation with each other, Sarah obviously impressed with the fact that Lewis is a doctor on his way to the hospital. If you are aware of the plot going into the film, as you likely are, you are looking at everyone around them as potential villains. Maybe that silent old guy is going to slip away. Maybe that drunk guy with the cigarette is going to get himself worked up, and make an impulsive decision to take over the train in outrage. Or maybe they are just red herrings. The mystery element is enough to get the story moving and get you engaged. And as Lewis goes on to have the best (if accidental) first date ever with beautiful Sarah, the conflict soon begins.

What transpires is a Speed-like action thriller, but without the charm. To it's credit, the film builds on some characters that you grow to appreciate, but (unable to avoid the obvious pun) it doesn't even go off the tracks at the end. That would involve more action than what you get, and at that point in the film you are hungry for it. Instead, it's an anti-climactic conclusion that leaves you wondering if you missed something. But you didn't.

The Trip

Michael Winterbottom, 2011

Can I Stream it?

2/5

Steve Coogan (playing himself) reaches out to friend Rob Brydon to see if he is interested in going on a foodie road trip with him after his girlfriend backs out. Soon the two find themselves sitting across from each other at various restaurants across the English countryside eating lavish meals while engaging in dueling impressions with each other.

Steve Coogan is a rather confusing actor. He seems to get a lot of acting work, seems to pop up quite often in the comedy genre, but it’s a bit perplexing as to why. He doesn’t necessarily have a large personality, not a lot of on screen charisma. He is very typically British, possessing a rather dry sense of humor. People seem to either be into Coogan, or just not. Before you see The Trip, you must evaluate your current opinion of Coogan. If you are lukewarm on him, are you ready to sit at a table with him for 90 minutes? Are you ready to be stuck in a car with him, in a hotel room with him? Because he isn’t going to put a whole lot out there. His overall demeanor is very much like the gloomy skies they find themselves traveling in. Perhaps that is what’s a bit challenging with him. In this film, which is a sort of meta & reflective look at his own acting career, his cell phone is constantly ringing (when he has decent reception) offering him roles that he doesn't feel so enthusiastic about. His career challenges are coupled with a broken heart caused by a breakup with girlfriend Mischa. But it’s hard to get on board with Coogan. He just doesn’t really seem like very enjoyable person to be around. It’s even a bit surprising that more charismatic/outgoing/extroverted friend Rob is on board for a road trip with old buddy Steve. Rob is away from his family, children. It’s nice to have a break, but it’s not like it’s all that exciting for him. Perhaps it just comes down to long-standing loyalty. One of the more inconceivable elements of the film is the constant gravitational pull that Coogan seems to have with women. How are they attracted to a man that is constantly sulking? Is it the name recognition? Or is it just a English thing? Overall the film is basically tolerable, with some nice food porn and a great Michael Caine impression by Rob Brydon.

Locke

Steven Knight, 2014

Can I Stream It?

3/5

It's the night before commencement of the biggest construction project of his entire career. Instead of driving home to watch a football match with his son, Ivan Locke (Tom Hardy) suddenly decides to drive away from everything to the shock of his employers and to his family. As he speeds down the highway, his life continues to unravel after each hands-free phone call.

At first glance Locke appears almost as if it's a sleek television commercial for BMW with the typical high-profile celebrity. As if BMW finally gave Tom Hardy an offer he couldn't refuse for a TV spot.  You soon realize that it's something much more compelling. Ivan Locke has made the decision to drive. And the decision to keep driving. Driving away from the much controlled existence that he has long been living in. Driving away from his high-pressure work duties that have long required his presence. Driving away from the familial obligations of watching football with his son and loyalty to his wife. For a good period of time you don't know what the limits of Ivan's conflicts are. The immediate seriousness of the situation gives you the impression that this could easily end in death for him. Does he owe someone money? Is he after someone? What is he hiding? He isn't silent about his personal history as he looks into the rear-view mirror, cursing his long deceased father. Almost as if he sees his father in his own reflection. Ivan has seemingly been an organized person. A man who thrived on strict order. A reliable person. As he keeps his foot pressed against the gas pedal, the reflection of the streetlights glide across the glass. The light constantly shifts from gold blurs to focused glows. A subtle abstract sound echoes in the background. Hardy is a commanding force, bringing a certain intensity to his complex Locke character. He is someone undoubtedly capable of carrying a film on his back.

In terms of construct, the film is actually quite similar to 2010's Buried starring Ryan Reynolds. A real-time limited storytelling piece consisting of one man and a phone. One could argue that Buried is more fierce, more forcible. Albeit undeniably more far-fetched. Perhaps that's the charm of Locke. The ordinary nature of the problems at hand. Ivan is a flawed man like so many in the world. The aftermath of a man who fell victim to his own impulses. But it's not a story of a man completely fleeing his personal shit-storm. He is actually in pursuit of something, some kind of shifting resolution to the mess that he has created. There is a determination to avoid repeating his father's mistakes. But Buried has a more lasting effect on the viewer. That particular story grips you until the very end, whereas Locke maintains a certain pace that carries on until the final moments without much excitement. We often go to cinema to take us to explore the incredible. Perhaps it would have been better if Locke took us on more of a journey with the story.