Tag Archives: Amy Adams

Review of the Year and What to See in 2017

Image result for 2017

Very few of us will be sorry to see the back of 2016, politically and socially it’s been a tough year all round. But it hasn’t been all bad with London’s cultural output thriving in uncertain times and at the start of 2016 there was much to anticipate. While 2015 theatre was all about five big male performance, 2016 was a time for some of our leading female actors to take to the stage with powerful productions of The Deep Blue Sea at the National Theatre with Helen McCrory on devastating form as Rattigan’s desperate heroine, while The Young Vic’s Yerma cemented Billie Piper’s growing status as a very fine stage performer, and closing the year, The National’s innovative Hedda Gabler with a brutally savage turn from Ruth Wilson as the suffocated society wife.

Some other good but not perfect productions also heralded some noteworthy for roles for Gemma Chang in Jamie Lloyd’s exciting take on Pinter’s The Homecoming, for Juliette Stevenson and Lia Williams in Mary Stuart (review to follow next week), Sharon D Clarke in Ma Rainey’s Black Bottom and Amber Riley in Dreamgirls. Not to be outdone notable male performances including Ralph Fiennes in The Master Builder which was one of his finest ever stage roles, shamefully overlooked by the Olivier committee, as well as the lead in a notable Richard III at the Almeida. Later in the year Kenneth Branagh defied comparisons to deliver a moving and powerful interpretation of The Entertainer while Ken Stott and Reece Shearsmith found new depth in The Dresser, not forgetting Kit Harrington cavorting about in his pants and making a decent job of the leading role in Jamie Lloyd’s controversial but resonant Faustus. But my favourite was Mark Strong’s incredible performance in The Red Barn which earned a first professional five-star review from me.

For theatre 2017 is already promising a host of hotly anticipated male roles and having opened 2016 with another chance to see his magnificent Richard II at the Barbican, David Tennant returns to the Wyndhams stage in March for Patrick Marber’s contemporary adaptation of Don Juan in Soho which promises a great deal. Also in March Daniel Radcliffe returns to London in an Old Vic production of Tom Stoppard’s Rosencrantz and Guildenstern Are Dead while in April star-director Ivo van Hove’s version of Obsession opens at the Barbican with film-star Jude Law. The National also revives its production of Angels in America with Russell Tovey which will be one of the big openers in 2017.  But the show to watch next year is a hotly anticipated version of Hamlet at the Almeida which opens in late February staring Andrew Scott, Juliet Stevenson, Jessica Brown Findlay and rising star Luke Thompson. Comparisons with Sherlock co-star Benedict Cumberbatch’s Hamlet are inevitable but the Almeida is a much smaller space and Robert Icke’s vision may yet surprise us.

Art and exhibitions have noted a major change in presentation and style since the 2015 Alexander McQueen show which really altered the way items are presented. Utilising the success of this the V&A called on their design experience to present a lively examination of 60s popular and political culture in Records and Rebels which you can still see a little while longer. In a similar vein Vogue celebrated its 100th birthday with an excellent exhibition of its fashion photography which emphasised its role in reflecting the changing world around the magazine, while the Barbicans show about The Vulgar collected some excellent exhibits but misused them in over-intellectualised structure. And Somerset House celebrated fan-art inspired by the weird and wonderful world of Kubrick films.

From July the anniversary of the Battle of the Somme offered two of London’s most successful shows focused on very different aspects of conflict. The Science Museum’s Wounded: Conflict, Casualties and Care was an eye-opening and well researched examination of a little known aspect of the First Wold War, while the Imperial War Museum comes very close to show of the year with its excellent Real to Reel exhibition on war movies. That accolade actually goes to the Royal Academy for its Painting the Modern Garden show which collated so many beautiful paintings that wandering from crowded room to crowded room was never less than a joy.

Looking ahead and the headline show for 2017 is the Tate’s David Hockney retrospective from February which is set to unite his UK and US work for the first time. After a stunning 2012 show at the Royal Academy, a proper examination of Hockney’s work is long overdue and this is sure to be a big hit for Tate Britain after their disappointing Paul Nash and Empire shows. This will be followed by a show on the impressionists in London from November.

Meanwhile other American art comes into focus with big shows on post-1930s art at the Royal Academy from February and Pop Art and the American Dream at the British Museum from March. In February Kensington Palace opens a guaranteed money-spinning crowd-pleaser with a showcase of Princess Diana’s dresses set to run for two years, while at the tail end of next year the Queen’s Gallery launches its examination of Charles II’s art.

London’s 2016 Film Festival was once again lived up to anticipation and seems to be going from strength to strength. As well as the Amy Adams double bill of linguistic sci-fi adventure Arrival and Tom Ford’s stylishly dark morality tale Nocturnal Animals which have already opened in the UK as well as Andrea Arnold’s superb American Honey, the Film Festival also showcased a number of significant films due to open here in the early part of 2017. Best among and them already earning countless award nominations is Damien Chazelle’s La La Land which is in cinemas from 13 January and is an exceptional clash of the classic Hollywood musical and modern grittier experiences of trying to make it in LA. It is beautifully realised and its stars, Emma Stone and Ryan Gosling, have never been better.

Out in the same week is Kenneth Lonergan’s Manchester by the Sea (review to follow shortly), a sensitive portrayal of grief and guilt with its stars Casey Affleck and Michelle Williams certain to dominate the acting honours in February. Although full release dates are not yet announced theatre director Benedict Andrews’s adaptation of David Harrower’s play Blackbird, now retitled Una and starring Rooney Mara deals with the difficult issue of abuse and its consequences. Although the film’s approach does undermine its purpose to a degree it will create talking points on release, and a review will follow when that date is announced. Finally Adam Smith’s first film Trespass Against Us, starring Brendan Gleeson and Michael Fassbender is scheduled for 3 March, with both playing members of a Gloucestershire traveller community, replete with local accents, who account for much of the local crime rate. Premiering at the Film Festival, it offers some impressive low-budget car chases and great black comedy moments, as well as fine performances from its top-notch cast.

So as we swiftly kick 2016 away it may not have been a great year but it has offered a number of cultural highs. With plenty of potentially excellent theatre, exhibitions and films in the works, there’s much to look forward to in the year ahead.

Reviews are posted every Monday at 12.30pm.Follow this blog on Twitter @culturalcap1.

Advertisements

Film Review: Arrival

Arrival

Many of the biggest blockbusters of recent years have been about life beyond the stars and since the first space expeditions of the mid-twentieth century popular culture has continually celebrated ideas of space travel, whether larking through time and space with Dr Who or fighting the forces of good and evil in Star Wars. Yet while we may think that these are all about our desire to encounter alien life, space films are actually all about humanity. Wondering what’s out there focuses our fears of loneliness and isolation while imagined encounters with other beings helps to clarify what it means to be human.

Nowhere is this more true than the latest space blockbuster, Arrival, which had its premiere at the London Film Festival and considers how the use of language and science contributes to our way of interpreting the world. Now a film about linguistics may not be everyone’s cup of tea but Arrival neatly integrates existential chat about the meaning and expression of life with the very human story of two academics bringing a restraining hand to the world’s trigger-happy military leaders.

In Denis Villeneuve’s film 12 mysterious spaceships arrive one day at seemingly random locations across the world. These tall cylindrical objects imply a mass alien invasion and a threat to the population of the world’s largest countries. Each contains two enormous squid-like aliens who have a message for the earth, yet, in order to understand their demands, scientists in each country must learn to interpret their language, and for that America, at least, calls on Dr Louise Banks (Amy Adams) a leading academic linguist who must work with mathematician Dr Ian Donnelly (Jeremy Renner) to develop a relationship with their two invaders in order to decode their purpose and save the world.

The most notable thing about Arrival is seeing not just a female lead, who takes precedence over the numerous male military figures and experts, but one who is both intelligent and entirely credible – nicely written by Eric Heisserer from Ted Chiang’s short story. Adams plays Louise as a normal woman, albeit one who appears to be suffering from some kind of painful memory intrusion, who is excellent at her job, authoritative in her advice, increasingly brave and always appropriately dressed for her life. Thankfully, as is the wont of many of these kinds of film,  we don’t see her tottering around in tight skirts and high heels, but she looks and feels the part in comfortable combat trousers and checked shirts, minimal make-up and tied back hair – in short a breath of much needed air in the presentation of women in action films.

Louise is there and respected entirely for the professional experience she brings to the team and when her theories prove sound again and again, the surrounding men, for the most part, accept her superior knowledge and do as she asks. Now none of this is shoe-horned in, and it’s not a film specifically designed to present a female lead in this light – the movie is telling a reasonably straight-forward story of an alien landing and the subsequent interaction – but in plethora of Hollywood films, Louise stands out as one of the very few realistic and thoughtfully created characters whose gender is entirely irrelevant to her ability to do her job as well as anyone else in the room.

And all of this is in no small way down to Adams’s interpretation of the character, and, given she largely carries the film, brings a sensitivity to the role that adds considerably to the audience’s engagement. We see things from her perspective so from the early confusion created at the university to the slow process of gaining the alien’s trust and gently probing their understanding and use of language, we experience her wonder, frustration and sense of achievement as time passes.

By contrast Jeremy Renner has very little to do as the military mathematician side-kick and his character is rather less well fleshed out. Naturally he bumbles around at first emitting masculine certainty about the importance of science but as time and experience with the aliens begins to prove, Banks’s way is the right one, Donnelly softens considerably towards her. Renner does what he does well and as the relationship between the leads becomes increasingly involved you begin to root for their success, but other than a providing a contrast to Louise’s easier style, the role is a reasonably thankless one.

Similarly Forest Whitaker and the rest of the military crowd are expectedly bolshie and self-important. The contrast between the force of military might and insistence that the aliens must only have dastardly intent, with Louise’s softly-softly approach is well drawn, but as ever in these films the homogeneity of military force feels as faceless and instant as usual. This is equally played out across the world as the affected nations initially share data via video conference but soon begin to fracture as their own scientists make discoveries that scare them into potentially dangerous action. How this evolves is one of the key messages of the film and again reiterates the central importance of Louise’s approach in resolving the confusion presented by the random appearance of alien craft.

Villeneuve’s direction is most valuable and subtle in the encounters between the humans and the aliens, which takes place within their ship, separated (or protected) by an impenetrable barrier that keeps them for doing each other harm. These become surprisingly affecting moments as Louise and Ian’s initial fear of the alien form becomes a more scientific fascination with unearthing the root of their language and developing an unexpected bond with them.

Arguably they cut too frequently and too sharply between these interactions and life back at base, so the prolonged contact with the visitors is sacrificed to a need to show the rapid passing of time, but Marc Reichel’s special effects are incredibly atmospheric. The physical shape of the aliens in their form of part-squid part-tree-trunk with long spindly roots will invariably disappoint some but it’s a good decision to cloud them in a smoky fog which should allow the special effects to last longer without looking too dated, while adding to the sense of mystery that propels this film.

Far from being a film about the appearance of aliens, Arrival is more about the human approach to solving a particularly important and complex riddle. Part of that is about science and knowledge, painstakingly constructing all the information you need to make an informed decision while constantly rethinking your approach. Yet what this film really wants to emphasise is the importance of working together and sharing more unusual ideas in order to solve one of humanity’s most pressing problems. And whether you see it as a metaphor for climate change, poverty, financial crises or any other world-level problem, Arrival is a space film that’s full of heart about the world we know.

Arrival received its European premiere at the London Film Festival. It opens in the US and the UK on 10 November. Follow this blog on Twitter @culturalcap1


Nocturnal Animals – BFI London Film Festival

nocturnal-animals

Tom Ford is known for making incredibly beautiful things, and his first foray into film-making, A Single Man, managed to combine style and substance to great acclaim. His second feature, Nocturnal Animals, which premiered at the London Film Festival, takes his work in a slightly different direction, adding a somewhat grisly, high-stakes thriller element that contrasts with the beautiful world of a prosperous gallery owner played by Amy Adams.

Insomniac Susan is a rich and renowned art dealer whose latest blockbuster show opens the film – which we see in the opening credits as a warped homage to Bond’s gyrating ladies. But despite her success it’s clear her outwardly perfect life has plenty of cracks; her handsome second husband has failed to attend the opening and rushes off on yet another “business” trip with his mistress, while a growing sense of unreality and emptiness begins to trouble Susan’s quieter moments. Out of the blue her novelist ex-husband sends her the manuscript of his first book, dedicated to her and fulfilling the potential she saw in him during their brief student marriage. But as Susan begins to read, the disturbing morality tale Edward has sent her takes hold and changes her perspective on the past.

Ford’s film is all about the rottenness that exists beneath the surface of things and how people can never escape the consequences of bad choices. In many ways it is a classic revenge tale that takes the audience into three worlds; the first dealing with Susan’s current life, the second the world of the book, and finally Susan’s memories of her first marriage evoked by the story she encounters. Complex as it sounds Ford interweaves the narratives convincingly, creating a film that’s not just a beautiful object but one that aptly reflects its subject matter by being tense, dark and uncomfortable beneath the surface.

Multi-narrative films can be difficult to pull-off but when it works well, such as Christopher Nolan’s Inception, each piece acts like a jigsaw adding depth and meaning to the rest. Here, our protagonist is Susan who, much like the central character in A Single Man, lives in one of those stunning one level, waterside houses that are all glass and extensive space, the type of home that speaks volumes about the lifestyle of the people inside. We also see her in her perfect white-walled gallery, an almost antiseptic environment that is all about surface suggestions of achievement but never seem to actually touch Susan’s inner life.

Amy Adams is superb as Susan, who, with surprisingly little dialogue, is required to convey a detachment from her day-to-day life, a lack of meaning and growing wish to reconnect with an earlier time of purer emotion. Heavily made up as a career woman, as we flit between the present and her student past, we see her former more honest appearance, understanding instantly, as Ford would like us to, that she has become someone that only exists on the surface of herself rather than the creative thinker she once was. The arrival of Edward’s book and her shocked, fearful and perplexed reactions to it are something that wakes her up to herself, which Adams conveys effortlessly.

The second narrative dramatises the plot of the novel Susan is reading about a family forced off the road by some reckless young men while driving along a lonely stretch of Texan desert one night. It’s a classic suspense opener as the family – husband Tony (Jake Gyllehaal), wife Laura (Isla Fisher) and teenage daughter India (Ellie Bamber) – discuss the decision to drive all night to their destination rather than break the journey. Soon they are engaged in a frightening confrontation with another car that harasses them for some miles before forcing them to pull over. The way in which Ford controls the tension here is fascinating, and has much in common with Spielberg’s first movie Duel, in which a faceless lorry driver pursues and attempts to kill a car driver for no apparent reason.

The tension only ratchets up from here on as the family are tormented further by their assailants before a series of dreadful crimes take place. This story, which eventually stretches over several months becomes an almost Shakespearean revenge tragedy in which the inevitability of destruction for all in involved is palpable. Cutting tightly between this and Susan’s reactions, often to a throbbing beat, creates strong associations between the two and it’s no coincidence that Edward’s female characters and his ex-wife have the same shade of red hair.

Jake Gyllenhaal is very affecting as a man set on an unexpected path after a random encounter that changes his life irreparably. Tony’s initial devastation grows into an anxiety for justice that eventually curdles into a thirst for brutal revenge at any cost, which Gyllenhaal convincingly plays. But what makes this section so engaging is the dangerous unpredictability of Aaron Taylor-Johnson’s Ray, who leads the gang of attackers. Ray is essentially your worst nightmare, someone who initially appears outwardly helpful but with an overconfidence brimming with treacherous intent. He is absolutely in control of every situation and orchestrates the separation of the family with cold-hearted perfection. Remorseless, calculating and even proud of his crimes, Taylor-Johnson’s performance is one of the best portrayals of mercenary mercilessness you’ll see this year.

Gyllenhaal’s weakness as Tony is contrasted with a few interspersed scenes as his ‘real-life’ alter-ego Edward whose young relationship with Susan contrasts, in her mind at least, with the complicated and sullied world she now lives in with the man she left him for. Here Gyllenhaal brings a freshness and ardent youth to Edward’s early dreams to be a novelist, while we get the first hints that he doesn’t deal well with criticism. Ford doesn’t linger too long on these sections but these fragments of memory are just enough to reveal Susan’s mind.

This hankering for simpler, purer times pervades the film and while the novel sections focus on the cost of revenge, it serves to reopen Susan’s mind about her past and the choices she made. But Ford also feeds this through the movie in other ways, particularly in one of the film’s wonderfully comic scenes in the gallery as Susan, facing a woman on her team with ridiculous plastic surgery, talks about a less-is-more ethos, a biting satire of the world Ford sees around him.

Much like A Single Man, Nocturnal Animals is then a film about loss of self, about hankering for a happier time and the inability to ever go back. Ford handles the transition between stories with great confidence, nicely adding to the escalating tension and drama. The storytelling is somewhat linear and for the most part it goes where you expect it to, but Ford creates investment in his leads – and despite the crime story being a meta fiction within a fiction – the rising intensity and the contrast of sleek and gritty styles keep the audience’s attention nonetheless. Nocturnal Animals is not a perfect film, but it is a masterclass in taking a fairly straightforward plot and creating a suspenseful, sleek, beautiful, dark and gripping experience.

Nocturnal Animals was premiered at the London Film Festival and is released nationwide on 4 November in the UK and 18th November – 9 December in the US. More reviews from the Festival will follow as films as released in cinemas.

Follow this blog on Twitter @culturalcap1.


%d bloggers like this: