For me he’s probably one of the best film directors that ever lived. Why? Because he knew how to tell a story. Not just script but camera angle, lens, music, casting etc etc…  In an industry which can often resemble a conveyor belt production line, often at the insistence of the producers (who , despite their own opinion, rarely have an artisitic bone in their body) it is a rare moment when a director has not only the auteured vision for his project, but the balls to stand up and get his way, regardless of what the producers think. And in this film, despite being at the top of his game, Hitchcock even has to put his money where his mouth is and fund the new film, Psycho, himself. And that’s to say nothing of the headaches he receives from the censors!

Psycho, of course, became arguably his seminal work which, as you can imagine given his legendary repertoire of work, is no mean achievement. The film stars Anthony Hopkins as Hitchcock and Helen Mirren as his wife Alma. It chronicles the making of Psycho and the ‘soap-opera’ behind the scenes life. The movie also contains a parallel, psychological theme as Hitchcock “hangs out” (albeit symbolically rather than literally) with the tormented mind of serial-killer Ed Gein (Michael Wincott) the real-life inspiration for the original book. It also depicts how personal parts of his life may have contributed to the film, such as the peephole used by Norman Bates and using his fresh temper (thinking his wife was having an affair) to help frighten Janet Leigh in the shower scene. And was it just me or did Janet Leighs dressing room resemble the films notorious motel room?

The make-up department surely deserve a mention for Hopkins transformation. However, Hopkins’ voice lets him down occasionally – some scenes he nails it but there are moments when it’s Hopkins not Hitch speaking, which is a shame. Mirren is good in her role, but the whole film is fairly mild and never really permeates the dark depths that one would imagine making a film such as Psycho. Personally, I can forgive this and when half the film is set on a the movie set it’s like the dream-back-stage-pass! Bernard Hermann’s eerie themes makes a cameo appearance in the underscore and at one point one can hear the haunting echo of the word…”McGuffin!” For a Hitch fan like myself, it’s heaven!

[rating=5]

This beautiful coming-of-age comedy is about a pair of young lovers Sam Shakusky and Suzy Bishop. After sparking a penpal relationship, they arrange to run away from home on their remote New England island, though only for 10 days. Armed with his scouting enquipment and she with her pet cat and a record player they cope remarkably well and fall in love. Their parents and guardians however are at their witsend and as a hurricane reportedly approaches the island, concern grows for their safety.

Directed by Wes Anderson and cowritten by him and Roman Coppola, this film is sumptuous to watch. The cinematography is beautiful. At first it looks slightly two dimensional like South Park, but it is an acquired taste that quickly grows on you. Every shot tells a story and were this thirty years ago when stills from the film were on show outside the cinema, you’d be hard pushed to whittle it down to a shortlist.

Jared Gilman and Kara Hayward both make a fantastic debut with support from quite an impressive cast including Bill Murray & Francis McDormand as Suzy’s attorney parents, Bruce Willis as the local policeman Captain Sharp, Tilda Swinton as the Social Services and Harvey Keitel, quirkily dapper in scout-leader uniform, as Commander Pierce! My favourite character, however, was the sharp, officious yet slightly tragic figure portrayed by Edward Norton as Scoutmaster Ward. And Lucas Hedges deserves a mention as the bullies heroic leader!

It’s a shame that this movie has only been nominated for writing as I am hard pushed to not be impressed by the whole package. It was reminiscent of Richard Ayoade’s debut film Submarine – if you enjoyed that, you’ll love this. [rating=5]

Maybe some considered it tempting fate to produce National Security drama whilst Americas public enemy number one terrorist, Osama bin Laden, was still at large. But since his death, there seems to have been closure in America that’s been counterbalanced with the birth of dramas about the nations security, the war on terror and other things that “changed the world” after the events of 11th September 2001. Homeland has just completed it’s second season whilst recently collecting an armful of Golden Globes. And this film from Hurt Locker director Kathryn Bigelow is ten times as powerful and compelling to watch. But it’s also quite controversial.

The film tells the story of CIA operative Maya who commits her life to hunting down Osama bin Laden (referred to as UBL in the film, presumably to avoid the whole Obama/Osama mix up) We start with no picture but sounds from 9/11 including the distressful conversation where a victim screams in tears from the top of the WTC over the phone to an emergency operator that she is terrified she is about to die, only for the operator to loose the connection to her after the towers collapse. Harrowing stuff, but blatantly warning us to have no illusions of what is to come. What does follow is the decade post 9/11 including the Khobar massacre in 2004, London 7/7 bombings in 2005 and the Mumbai attacks in 2008, though for some reason, unlike 9/11, Bigelow chose to illustrate these attacks quite vividly in the film. There are also light references to America/Britain’s appalling intelligence to WMD in Iraq, though Bigelow steers clear of any political shortcomings regarding that issue.

Most controversial is the depiction of torture used by the Americans to gain information about UBL and al Quada. The use of water boarding and extraordinary rendition (where prisoners are extradited to a country where certain forms of torture aren’t illegal so they can be tortured there) is bluntly portrayed in the first half of the film. However much of this is already heavily documented by the media, so whilst it makes for shocking “in your face” film making, I was left wondering whether dramatising it would bring any fresher angle on the subject. I’m not sure it did, though I imagine it may help with “closure” for many potential audience members.

It’s hardly a spoiler if I tell you UBL dies in the end. Yup, the “good guys win” – yay! For that reason alone, this film will be a hit amongst patriotic conservative Americans! But Bigelow’s ending is curious and a little confusing. Throughout the film there have been mentions, almost like a tiny subplot, that Maya leads quite a lonely existence. And the film ends with her feeling quite lonely, empty and isolated on a massive aircraft carrier, now her task is complete. Not sure I understood it. Odd choice.

Any other criticism, however, would be nit-picking (if I’ve not done so already). Prepare yourself for a heavy duty, two and a half hour epic that documents a chapter in history that has left many dead and many non the wiser. Whether you call it Jihad or the War on Terror, there will never be winners. There will only be those deluded enough to think that violence and killing makes the world a better place!

[rating=5]

Heavily nominated by both the Academy of Motion Pictures and BAFTA, this biopic from Steven Spielberg focuses primarily on Lincoln’s last four months and his attempts to emancipate the black population starting with his campaign to pass the Thirteenth Amendment to the Constitution which outlawed slavery, still a problem in many southern, Confederate states. To many, myself included the film will be quite educational. With the title role played by twice Oscar winning Daniel Day Lewis, supported by the likes of Tommy Lee Jones and directed by Steven Spielberg there can be no doubt, on the surface at least, why this has been heavily nominated.

I was concerned at first that my ignorance to this part of history would leave me behind but, as it soon became apparent that the finale would be the build up to the vote in the Senate chamber, the journey was more smooth if a little predictable. As you would expect with a movie of this calibre everything from costume to a mid-19th century Capitol building (Richmond VA, not Washington). Scenes of the American Civil War are quite detailed and a little graphic. One shot shows a gasping man’s face pressed deeper and deeper into the mud by a boot. But whilst period details have been painfully recreated, the historical account itself remains a little dubious. For example, Lincoln is seen pressing on with the amendment with urgency as he feels if he leaves it too late, the imminent resolution of the American Civil War anticipated later that year would dilute his support to get the amendment passed. But some have suggested he used the amendment to cripple the economy of the southern states that were heavily supported by slavery. Rather a contrast of accounts and ammunition for those who argue that Hollywood often sentimenalises and idealises historical events at the expense of truth and fact. God bless America!

Performances worthy of a mention is James Spader as W.N. Bilbo and Tommy Lee Jones as Thaddeus Stephens. Surprisingly a majority of the scenes are straight forward dialogue, almost static and theatrical. If the film is a hit of epic proportions, then I wouldn’t be surprised if a play version popped up on Broadway. But only Broadway, I imagine, because surely this film can only be of any real interest to those who are interested in American, historical, political dramas. And beyond America, that’s a pretty niche market. Maybe West Wing fans and those who avidly watch History Channel reconstructions. It ticks all the boxes for things like the BAFTA’s and Oscars, yes Day-Lewis’s performance is great and it will remain as iconic film as Ghandi maybe! But, as I’m realising the older I get, that is little reflection to what Joe Public aka ‘The Box Office’ think. The very fact that Skyfall (released in October and STILL going strong) has eluded all of the major nominations from both institutes epitomises this point.

[rating=4]