Film Review: The Fifth Estate

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Bill Condon, Cumberbatch, Daniel Brühl, Daniel Domscheit-Berg, entertainment, Film Review, Film Review: The Fifth Estate, Inside WikiLeaks, Julian Assange, Laura Linney’s, movies, Stanley Tucci, The Fifth Estate, WikiLeaks

In the summer Alex Gibney released his documentary We Steal Secrets: The Story of the WikiLeaks showing the world what went on behind closed doors of the infamous whistle-blowing website. Now Director Bill Condon shows us his fictional version of the story in his film The Fifth Estate.

Both films try to unravel the story behind WikiLeaks and Julian Assange’s rise and fall and both struggle with all the possible angles. While Gibney just documents what happened, Condon takes some creative leeway and turns the story into something close to a thriller.

When Daniel Domscheit-Berg (Daniel Brühl) meets Julian Assange (Benedict Cumberbatch) he is fascinated by his single mindedness and desire for total transparency. Soon the two start working together, finding secrets and generating a buzz around the WikiLeaks.

As the website grows and gains followers Julian finds himself trust into the limelight, and enjoying it. But while his fame increases so does his paranoia and secret keeping. Daniel on the other hand struggles to maintain his normal life and while he believes in the importance of their venture he starts to realise that Julian is not all he may seem to be. As the cracks appear in their friendship the secrets they unfold become bigger and more dangerous, they are forced to decide between total transparency or protecting sources and innocents.

The Fifth Estate is based on the book Inside WikiLeaks by Daniel Domscheit-Berg yet it still seems to be in two minds about whether or not Assange is the villain in the story or not. This ambivalent attitude towards the lead character in the film creates a lot of messiness in the plot and leaves quite a few questions unanswered.

That being said Cumberbatch is the perfect choice for the role of Assange. He somehow manages to replicate Assanges unique halting speech patterns, jerky movements and twitchy nervousness without ever just being an imitation. Brühl also finds his stride as his loyal spokesperson and fallen believer towards the end.

The main problem that The Fifth Estate faces is Laura Linney’s role as the fictitious State Department official Sarah Shaw and Stanley Tucci as her right-hand man James Boswell. Somehow their part in the story feels like an ‘ad-on’, just there to show that they US State Department has hypothetical blood on their hands.

Overall The Fifth Estate makes a good attempt at telling modern day story but at times does seem to get carried a way a little with visual concepts, bombarding the viewer with an array of virtual maps, electronic front pages and a virtual office.

The Fifth Estate is filled with ideas but even the extensive 128 minutes just aren’t enough to cover any of them in too much detail. Leaving the viewer with many unanswered questions, one of which is: does Assange really dye his hair?

 

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Film review: Blue Jasmine

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Alec Baldwin, Blue Jasmine, Cate Blanchett, entertainment, Film review Blue Jasmine, Films, movies, Peter Sarsgaard, Sally Hawkins, Woodly Allen Films, Woody Allen

Woody Allen is back, again. After Midnight in Paris and Vicky Cristina Barcelona he is returning to what he knows best: neurotic behaviour. But Blue Jasmine is far from a comedy; it is a drama portraying the breakdown of the high and mighty.

Self-named Jasmine (Cate Blanchett) has lost everything, her husband, her pent-house, her step-son and all of her money. Forced to abandon her Park Avenue home Jasmine moves in with her sister Ginger (Sally Hawkins) in San Francisco. This shabby chic apartment above a Mexican café is far from Jasmines usual standards and she can seemingly only survive with the help of a steady flow of alcohol.

Not wanting to give up, Jasmine takes a job as a receptionist and tries to better herself with an evening computer course. But she can’t let go of her past life and in flash-backs we meet her ex-husband Hal (Alec Baldwin), her high society friends and obviously questionable lifestyle.

Unable to deal with the present, Jasmine talks obsessively about her past, her wealth, her husband, her travels and property, creating an alternative reality in which she seems more at home than in the real world. Her pearls, Chanel jacket, Fendi bag and Roger Vivier shoes are all that remains of this high flying past, that she is so desperately yearns for.

Over time Jasmine unravels more and more and when her last hope, a promised engagement to diplomat Dwight (Peter Sarsgaard), evaporates because of the web of lies she spins, she becomes completely undone.

Allen is at his best in Blue Jasmine but it is arguable that this is mainly down to Blachett’s stellar performance. The only downside to her brilliant portrayal of this Park Avenue downfall is that she isn’t very likable.

Hawkins as Blachetts sister Ginger is good, but sadly nearly a caricature of what Allen deems working class Americans to be like. Baldwin is wonderful as Hal, he is a businessman with a hidden agenda, a little to squeaky clean, has affairs but still quite likeable.

Overall Blue Jasmine is a good film, a return to what we expect from Woody Allen, with a little bit more grit. However it doesn’t quite have the greatness of his early works like Annie Hall or Manhatten, even if the soundtrack is brilliant. The strong plot, fantastic actors and brilliant lead make Blue Jasmine a film to watch, not just if you are an Allen or Blanchett fan.

Film review: Austenland

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Austenland, Colin Firth, comedy films, entertainment, Film Review, Film Review: Austenland, Georgia King, Jane Auten, Jennifer Coolidge, Jerusha Hess, Keri Russell, movies, Mr Darcy, Stephenie Meyer

If you are expecting Mr Darcy or any Colin Firth lookalikes Austenland is going to disappoint.

Austen addict Jane (Keri Russell) just can’t find her perfect gentleman so after she pours herself another cup of tea she decided to invest all her savings in a trip to England and stay in Austenland, a Jane Austen themed park, romance guaranteed.

Since she only bought the copper package she watches from the servants quarters how ‘platinum’ Austen fans Elizabeth Charming (Jennifer Coolidge) and Lady Amelia Heartwright (Georgia King) are treated to the full blown experience, petticoats and four-poster-beds included.

Realising that she may have made a big mistake she pairs up with stable boy Martin (Bret McKenzie) and mocks the ludicrous games of make-believe. But of course there is a twist, a dance and a love story.

Sadly Austenland is anything but Austenesque and is very painful to watch as it over the top juvenile with no subtleties. Coolidge does what she always does with her overbearing stature and boobs. And although Russell delivers what is expected of her it is just not enough.

If director Jerusha Hess (Napoleon Dynamite) and producer Stephenie Meyer (Twilight Saga) think that this is what women want they have gotten it very wrong. This sub-standard jokes and stale plot are just too silly and very messy. And while the film does circle around the Americans fascination with British culture and heritage and the female desire for romance it really doesn’t deliver.

Austenland is as far away as you can get from Jane Austen’s beautiful storytelling and detailed character drawing. And I am sure that all involved feel no sense of pride at the end result and all your negative prejudices will be proven right if you do want to waste time watching this trivial drivel.

Film review: R.I.P.D

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director Robert Schwentke, entertainment, film, Film review: R.I.P.D, film reviews, Jeff Bridges, Kevin Bacon, Mary-Louise Parker, movies, Ryan Reynolds

It’s hard to know where to start on the mess of a film that is R.I.P.D. It should be could fun as it is a buddy-cop movie mixed in with zombies and lots of CGI but it really isn’t.

Nick (Ryan Reynolds) is a cop in Philadelphia, one who likes to keep some of the loot for himself. But since he is a good guy at heart he decides to change his way and hand in the gold the stashed away. However his partner Bobby Hayes (Kevin Bacon) isn’t too happy about this development and kills him.

Finding himself in some sort or heavenly police department, the R. I P.D (Rest in Peace Department) sitting opposite agent Proctor (Mary-Louise Parker), Nick soon discovers a whole new reality.

Partnered up with old time wild-west Marshall Roysephus Pulsipher , big Roy(Jeff Bridges) Nick is sent back to Philly to track down and bring back ‘deados’, dead people who somehow stayed on earth and turned into evil demons packaged in human shells.

This leads to CGI chases around Philadelphia, massive cartoon like undead running riot and a show down with a massive portal threatening to end the world.

R.I.P.D is tries to be a bit like Men in Black or Ghostbusters, but it really isn’t. There is nothing new; the plot is weak and very predictable, the CGI is a little rough and the there is no real excitement.

Reynolds is the same character he always is, no matter if it’s his take on the Green Lantern or Wade Wilson in X-Men Origins : Wolverine he just furrows his brow and spouts a few one-liners.

Bridges on the other hand seems to have cornered the “old coot” market and his version of Big Roy is no different from his characters in Men who stare at Goats, Crazy Heart and True Grit.  The only difference is this time he is dead but his mumbling tobacco chewing intonations are no less annoying.

Bacon has perfected his sleazy bad-guy routine and offers really no surprises as Bobby Hayes. Parker is kind of cute as Proctor but can’t really offer any real support.

Whatever director Robert Schwentke was thinking when he made R.I.P.D, a big budget film, is anyone’s guess. So if you are looking to have some fun there are lots of better ways to spend 96min of your life

Film Review: The Call

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Abigail Breslin, director Brad Anderson, entertainment, Film Review: The Call, film reviews, Films, Halle Berry, Michael Eklund, movies, The Call

Phone operator Jordan (Halle Berry) works in the busy 911 emergency call center in Los Angeles. Everyday she sits, listens and helps those in distress, always cool and methodical as she was trained to be.

However when she answers the call from a young girl whose home is being invaded everything changes. Always the professional Jordan tries to calm the girl down but suddenly the perpetrator is on the other end telling her: “It’s already done.”

This sentence haunts Jordan and when a few days later the body of the young girl is found she swaps her headset for a clipboard and teaches new applicants how to do her old job. While on the floor of ‘the hive’ as the bustling call-center is dubbed a call comes in from Casey (Abigail Breslin) and a breathtaking journey begins.

Casey is calling from the boot of a moving car, confused, crying and very scared. With the help of Jordan she manages to create a trail and the search is on. Her abductor Michael (Michael Eklund) is at first quite unaware of what is happening behind his back but as soon as he finds out his rage takes over.

The Call is a fast-paced movie filled with suspense. And even though a lot of it is filmed inside the boot of a car it doesn’t feel overly claustrophobic. Both Breslin and Berry manage to be believable, Breslin obviously filled with terror and Berry desperate to help. However it does seem odd when Jordan leaves her desk and turns into the hero who saves the day.  Eklund is brilliant in his sweaty lunacy, menacing, furious and utterly deluded.

However The Call does have its weaknesses. The prologue to the story is a little long, which is odd as the film is only 94 minutes long. But director Brad Anderson seems to want to set the scene and create too much of an unnecessary back-story. And although the ending may be surprising and somewhat satisfying for some it makes little sense to find Jordan as the one who takes action.

Overall The Call is much better than it may first appear, even if the plot does have a few weaknesses.  It is a film that is carried by strong actors, a lot of suspense and great filming, a thriller in every sense of the words.

Film Review: Insidious: Chapter 2

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Angus Sampson, entertainment, Film Review, film review Insidious: Chapter II, Films, Horror movies scary movies, Insidious, Insidious: Chapter II, James Wan, Leigh Whannell, Lin Shaye, Patrick Wilson, Rose Byrne, Steven Coulter, Ty Simpkins

The Lamberts are back and so are their dead friends. Following directly on from the first film, Insidious: Chapter 2 continues the story of Josh Lambert (Patrick Wilson) and all that goes bump in the night.

After Josh succeeded in rescuing his son Dalton (Ty Simpkins) from ‘the Further’ and the murder of psychic Elise (Lin Shaye) the Lamberts family move in with Josh’s mum Lorraine (Barbara Hershey). But it soon becomes obvious that yet again the move didn’t get rid of the ghosts. As the plot thickens it becomes clear that nothing is as it seems and something followed Josh back into reality.

Although Renia (Rose Byrne) believes her husband to be innocent she can’t help but feel uneasy and when the piano begins to play on it’s own accord, toys move around and a women starts to appear, threatening both her and the kids, she looks to ghost busters Specs (Leigh Whannell) and Tucker (Angus Sampson) for help again. With the help of old-timer Carl (Steven Coulter) and his dice the duo tries to find answers.

Director James Wan doesn’t really surprise with anything new and although some questions from the 2010 film do get answered, Insidious: Chapter II is not very exciting.  Chilling music, some sudden scars and suspense may have worked well in Insidious, but in Chapter II it seems like old tricks.

However the Scooby-Doo like pairing of Whannell and Sampson works better this time around, as they are less annoying, but it is Wilson who gets the bigger laughs, intentionally we hope!

Insidious: Chapter II relies too much on its previous success and does depend a little too much on the viewer knowing what happened before.  And although both Hershey and Byrne have quite a lot of screen-time, they don’t offer anything new, leaving Wilson to carry the story, which he does, but it is not enough.

Sadly the children feel like moving props and even though 12-year-old Simkins is vital for the solution he doesn’t shine like he did in Iron Man 3. This has possibly more to do with the feeble storyline and chaotic plot than with his ability.

But if you like a few scares without any gore and are willing to believe the ludicrous story Insidious: Chapter II is a bit of fun.

Film review: White House Down

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2012 and Independence Day, Bruce Willis, Channing Tatum, Die Hard, director Roland Emmerich, entertainment, film reviews, Films, Jamie Foxx, Joey King, John McClane, Maggie Gyllenhall, movies, reviews, Roland Emmerich, The Day after Tomorrow, White House Down

After The Day after Tomorrow, 2012 and Independence Day director Roland Emmerich has now decided it’s time to blow up the White House from within. No natural disasters or aliens needed, this time a handful of terrorists and a few corrupt politicians is all it takes. But of course there is a hero to hand to save the day.

John Cale (Channing Tatum) calls in a few favours and interviews for a job as secret service agent. Unlucky for him agent Finnerty (Maggie Gyllenhall) is not only sceptical of his abilities but knows him from his not so dashing past. Trying to not disappoint more women in his life Cale takes his angry teenage daughter Emily (Joey King) on a tour of the White House and of course politics obsessed Emily bumps into the Presidant (Jamie Foxx).

As luck would have it terrorist decided it’s the perfect day for a White House takeover and bring it down. But working class hero John won’t let this stop him from finding his daughter, who got lost in the ensuing chaos, and makes his way through gun-fire and falling debris only to find the Commander in Chief in need of a rescue. From then onwards John has a two-fold mission, find his daughter and save the President.

Like most “here-to save-the-day-movies” the character of John Cale is a close copy of Bruce Willis John McClane in Die Hard, only missing a few letters to his name and wearing the obligatory sweat stained tank top. But Tatum does a good job, not only does the shirt fit his physique beautifully, his charm and good delivery of one liners give White House Down a certain amount of flair and fun, not unlike the Die Hard series.

And it seems that America is in need of a new hero, making Tatums timing perfect, after all the ususual suspects are all getting a little too old : Bruce Willis is 55, Brad Pitt 49 and Will Smith 44.  But while Tatum is the obvious star of White House Down, Foxx is a little too predictable and bland but does have some good lines. King on the other hand often steals the limelight and is one to watch in the future. And Gyhllenhall does what she always does, is pretty, a little quirky but really just the female on the sidelines.

So while White House Down doesn’t really do anything new and tells a story already told it is well written with maybe a few too many outrageous twists. The special effects are believable, but it is Tatum who upstages everything with his good looks, on screen charm and athletic bravado.

So if you like Die Hard and a bit of a on screen demolition White House Down is definitely one to watch.

Film Review: What Maisie Knew

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Alexander Skarsgård, David Siegel, entertainment, Film Review, film review What Maisie Knew, Joanna Vanderham, Onata Aprile, Scott McGehee, Steve Coogan, What Maisie Knew

Although based on Henry James’ 1897 novel What Maisie Knew is a very modern story, one of divorce and children being the collateral damage.

Six-year-old Maisie (Onata Aprile) is the daughter of rock star mum Susanna (Julianne Moore) and art dealer dad Beale (Steve Coogan). The two big egos clash loudly, disregarding the presence of their daughter who finds peace with nanny Margo (Joanna Vanderham). Maisie spends her day peering around corners, listing to abusive shouting and avoiding being caught in the middle.

When her parents finally split the courts decide that Maisie is live with both parents and is chauffeured back and forth between them. Although both parents fight for sole custody it becomes obvious that Maisie is more of an inconvenience that anything else.

Bizarrely both parents decide the only option is to marry, philandering dad hooks up with the much younger nanny Margo and narcissist mum weds handsome bartender Lincoln (Alexander Skarsgård).

Bouncing between the two unlikely couples Maisie becomes more and more neglected by her parents and finds better, more loving replacements in her stepparents.

What Maisie Knew is a delicate film that lives for its tiny lead actress Onata Aprile. She is in every scene, peering out, watching the adults who dictate her world. We see the story from her point of view, the camera held low to the ground letting the viewer see the child’s perspective.

Both Moore and Coogen are good as the self-obsessed parents who believe they love their child but are unwilling to sacrifice their needs for hers.

Skarsgård breaks away from his normal roles and succeeds in being unusually vulnerable and naïve, his Swedish accent and extreme height adding too his charm as he plays with the little girl.

Scottish actress Vanderham is endearing and her attachment to Maisie as Margo feels real and very emotional. With her lilting accent and petit figure she is the perfect counterpart to Skarsgård.

What Maisie Knew may not be an exact replica of the book, but the story is told well and is beautifully filmed by directors Scott McGehee and David Siegel. The viewer gets pulled in and emotionally attacked to Maisies fate, always hoping that the tiny protagonist comes out unscathed.

Film review: We’re the Millers

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Emma Roberts, entertainment, film review: We’re the Millers, film reviews, Jason Sudeikis, Jennifer Aniston, Rawson Marshall Thurber, We’re the Millers, Will Poulter

Small time dealer David Clark (Jason Sudeikis) seems to be happy with his uneventful and meaningless life. But when he is beaten up by thugs and loses his bosses money he is forced into becoming a big-time drug smuggler.

In order to transport a massive stash of weed over the Mexican boarder David comes up with a ludicrous idea. He hires a monster of a campervan and hires a family. His motley crew of a ‘the Millers’ are neighbour and stripper Rose O’Reilly (Jennifer Aniston) as his wife, runaway Casey (Emma Roberts) his daughter and neighbour nerd Kenny (Will Poulter) as his son.

Of course nothing goes as planned and ‘the Millers’ end up on an adventure of a lifetime.

Sadly the script just doesn’t hold up and the crude innuendos and sexual crudeness is often just not funny. Aniston as stripper Rose is not believable; even though her body is incredible she just doesn’t have the dirty sexiness needed for the role. But thankfully her comedic talent saves her otherwise weak performance, as she does have good timing.

Sudeikis does have a certain charm but his performance is a little threadbare and messy. And it doesn’t help that his lines are too bland to really inspire any likeability.

The contrast between Roberts and Poulter couldn’t be bigger. Roberts is too “vanilla” to pull off her role as a hard-done-by teenager who hates the world and lives on the street. However British actor Poulter is quite good, he somehow manages to be sweet and vulnerable in the midst of all the chaos.

We’re the Millers is another film that cannot live up to its promise. Its weak screenplay, crudeness and unlikely story all jar. And while there are a few laugh its attempts to combine family sitcom and lewdness doesn’t work, making most scenes cringe-worthy and uncomfortable.

So if you are expecting something like director’s Rawson Marshall Thurber Dodgeball, you will be disappointed. We’re the Millers just isn’t very funny, too ‘over-the-top’ and juvenile.

Film review: Lovelace

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Amanda Seyfried, Chris North, deep throat, entertainment, film review Lovelace, film reviews, Hank Azaria, Jeffrey Friedman, Linda Lovelace, Linda Lovelace’s autobiography Ordeal, Lovelace, movies, Ordeal, Peter Sarsgaard, Rob Epstein, Sharon Stone

From naïve girl to porn superstar that is the story told in Lovelace. Based on 70s porn queen Linda Lovelace’s autobiography Ordeal this film shows her version of how she came to star in the infamous porn film Deep Throat

When Linda (Amanda Seyfried) meets Chuck Traynor (Peter Sarsgaard) her life changes from strict catholic upbringing to a free sexual life. However once married to pimp Chuck what once happened behind closed doors becomes a source of much needed income.

On seeing Linda’s legendary “sword-swallowing’ trick for the first time porn producer Jerry Samiano (Hank Azaria) and movie mogul Tony Romano (Chris North) are in awe and the idea for the porn-comedy Deep Throat is conceived. Linda becomes an overnight sensation, but not only does the film attract a lot of media attention it soon brings in a lot of money, for everyone except Linda.

Then a rewind tells the story from a different point of view, namely Linda’s. Her naïve charm and sexual liberty is all just facade. Physically and mentally abused by  Chuck Linda is forced into doing unspeakable acts, a sexual puppet to please men with her husband pulling the strings at gunpoint.

Trying desperately leave her husband and the life she sees panning out ahead of her,Linda seeks help from her mother (an unrecognisable Sharon Stone) only to be told to “obey her husband”.

Lovelace lives from its two main characters. Sarsgaaard is wonderful as the macho, drugged up Traynor and gives a multi-layered performance displaying greed, rage and fear of losing his “property”. But it is Seyfrieds raw emotions that really tell the story. She is charming, vulnerable and very real.

And thankfully directors Rob Epstein and Jeffrey Friedman never lose focus on the story behind the story; only revealing emotions never intimate parts by cleverly using massive wigs and cutaways. With attention to detail the gritty feeling of the 70s porn world feels true and clever story telling pulls the viewer in.

However for a movie wanting to tell the truth Lovelace neglects to take a closer look at all perspectives. With Ordeal as the foundation of the film Linda’s personal accounts are taken at face value never looking closer into her pornographic past and ignoring conflicting accounts.

But the stellar performances of both Seyried and Sarsgaard make Lovelace well worth seeing. So if you are hoping for a little hardcore you will be disappointed as the story focuses on the pain behind a public perception not on public display.