Ex Machina

Tags

2010's, Alex Garland, Alicia Vikander, Domhnall Gleeson, Ex Machina, Oscar Isaac, Science Fiction, Thriller

Film Title

Ex Machina

Director

Alex Garland

Starring

• Domhnall Gleeson as Caleb Smith
• Oscar Isaac as Nathan
• Alicia Vikander as Ava

An intriguing science fiction thriller marking the directorial debut of Alex Garland, Ex Machina is unusual, disturbing and full of interesting themes that will haunt you for days. Boasting a strong cast and a big impact, it is one of the best science fiction movies of recent years.

Computer programmer Caleb Smith works at a computer software company. We first meet him when he wins a competition to visit the reclusive CEO of his company billionaire Nathan in his beautiful but very isolated home for one week. Excited and very curious about the prospect of it all, Caleb meets Nathan, who turns out to be a very unusual guy indeed. By turns very intelligent and then selfish, egotistical and prone to heavy drinking, Nathan is unnerving to a certain degree to Caleb, who at first shrugs it off because he’s so interested in why he’s been selected. The real purpose of Caleb’s visit is later revealed to him. Nathan has created a beautiful female AI that is called Ava. Caleb is to take part in a Turing test to distinguish whether or not Ava could pass as a human. These tests consist of questioning from Caleb to Ava, which Nathan observes via high-tech cameras. At first Caleb is completely bowled over by the creation of Ava and struck beyond belief. But events soon take a dark turn, when during one if their sessions, Ava manages to cause the power to fail for a few minutes. During one of these system shut downs,  Ava tells Caleb that he shouldn’t trust anything Nathan tells him. This in turn leads to uneasy tension between the three of them as a sense of paranoia sets in and we are left consider who is really pulling the strings and ask many questions. Is the gifted but disturbed creator Nathan behind everything and what are his intentions, both for Caleb and for Ava? Is the impressionable Caleb so entranced by Ava that he can’t see something dark is brewing? And most importantly, how like a human is Ava and what is she really capable of doing?

As writer and director, Alex Garland creates a sense of eeriness to the movie that is slowly revealed in often disturbing and surprising ways. He has a sure hand in both capacities and taps into an array of themes, which include what it means to be human and the accountability of man playing God. To say Ex Machina is a thought-provoking film is an understatement, as it delves into unusual angles and pulls the rug from under us in provocative fashion. With the troika of characters, we are never sure who to relate to as the seesaw of sympathy swings between them all as the dark story evolves and other motives are hinted at. A keen visual design highlights the technological aspects of the story seen in Nathan’s high-tech dwelling, the mirrors of the room in which Caleb conducts the tests and the appearance of bewitching Ava. It must be said that the appearance of Ava is indeed a sight to behold. Her face, hands and feet look human but the rest of her body, constructed with a sophisticated mesh like structure allows us to glimpse the robot inside. It’s the design of Ava that really blurs the line between human and machine. Sonically, Ex Machina is highly effective to with the whirring sound of Ava’s movements suggesting the inner working of her robotic(or is it more closer to human?) mind and a humming ambient score that adds considerable tension to the film by letting us know straight away that something is not quite right.

The three main players in the story are all very good and ideally cast for this movie. Domhnall Gleeson plays the part of Caleb with a winning curiosity and naivety that is later tested as darkness encroaches upon his participation in the test. Oscar Isaac is equally effective as the eccentric Nathan, who is above all a capricious character. Isaac handsomely reveals these unpredictable changes within Nathan with alarming intensity. We never know which side of Nathan we are going to get next and most of that is down to the committed work of Oscar Isaac. Plus, the guy has some serious dance moves that he showcases in a completely unexpected but entirely memorable scene. The standout performer for me in Ex Machina from the central trio is Alicia Vikander in her portrayal of the android Ava. The performance has a certain unnatural poise to it, from the tilt of her head, unusual tone of her voice and her smooth, graceful movements, it’s hard to take your eyes off her work. Yet her performance goes deeper than just the physical side; Vikander successfully cloaks Ava in ambiguity with a mix of guile, sensuality and intelligence that really makes us consider what her true nature is. Is Ava more sophisticated than Nathan ever imagined? And has she somehow taken on a complete life of her own? Thanks to the marvellous performance from Alicia Vikander, we are never truly sure and that’s where the effectiveness lies.

A masterfully thought out film, that benefits from smart writing, effective direction and excellent work from the cast, Ex Machina is a film that is bound to make a mark on the viewer with its ideas and execution.

Testament of Youth

Tags

2010's, Alicia Vikander, Based on a true story, Colin Morgan, Dominic West, Drama, Emily Watson, Hayley Atwell, James Kent, Kit Harington, Miranda Richardson, Taron Egerton, Testament of Youth, War

Film Title

Testament of Youth

Director

James Kent

Starring

• Alicia Vikander as Vera Brittain
• Kit Harington as Roland Leighton
• Taron Egerton as Edward Brittain
• Colin Morgan as Victor Richardson
• Emily Watson as Mrs Brittain
• Dominic West as Mr Brittain
• Hayley Atwell as Hope
• Miranda Richardson as Miss Lorimer

A beautifully moving and stirring movie, Testament of Youth recounts the true events in the life of Vera Brittain during the First World War, filled with determination, horror, heartache and self-sacrifice. Powerfully acted and poignant to the core, it’s a well-rendered triumph of emotion and bravery from her memoir.

We begin on Armistice Day and while everyone is celebrating the end of the First World War, Vera Brittain begins to reflect on her own personal experiences. We flashback to 1914, Vera is an independent, passionate and free thinking girl whose attitudes were at odds with her parents ideas of her becoming a respectable lady. Along with her good-hearted brother Edward, friend and secret admirer Victor Richardson and sensitive Roland Leighton, Vera enjoys rebelling against the norms of the time and we first glimpse her swimming in a lake without a care in the world. She has ambitions of becoming a writer, but her shocked parents are not exactly thrilled to hear of these plans. She is encouraged by Roland( who also would like to write but doesn’t quite have the confidence), who she holds a torch for to apply to Oxford because of her dreams and while nervous she does so. When she gets a place at Oxford, she couldn’t be more overjoyed and she makes her intentions clear to Roland, who reciprocates her love. Yet this happiness for Vera proves to be short-lived as the War begins and Roland signs up, along with Edward and Victor. With the world at war and it continuing on longer than expected, Vera tries to go about her studies at Oxford which she fought so long and hard for. But her irrepressible spirit tells her that she must act and sacrificing her place at university, she begins to work as a nurse, which eventually takes her to The Front. Yet the war is a cruel time and one by one, Vera’s life is turned upside down by personal tragedy and turmoil. But the young Vera isn’t broken yet and continues to do her part for the war, while bravely experiencing the utter horrors it can bring.

James Kent contributes an emotionally involving direction to the film. He thankfully doesn’t fall prey to the usual problems of making a true story have an impact on the screen without overdoing it. Testament of Youth isn’t strictly a biopic, it is based on a true story but doesn’t feel episodic like other biopics. It does have elements of a biopic that are thankfully realised with heart and soul. The way that Kent intercuts scenes from a happier time in Vera’s life with the devastating effects of war is assured and heart-wrenching to watch. Aside from this, the use of camerawork puts the audience deep in the heart of the emotional story by often focusing on faces, in particular the changes on Vera’s as the war deals its tragic blow on her. It is a sensitively done movie that doesn’t go for histrionics, instead it opts for subtle emotions that make the story all the more powerful. The closeness of the story makes us feel like we are there and when Vera experiences something, we too feel the exact same way as her. For a movie that centers around war, the battle scenes in Testament of Youth are few and far between. I believe that Kent is more interested in showing the aftermath of the war and the horrific wounds both physical and emotional it can inflict on us. Though it must be said it doesn’t scrimp when showing the horror of war either when Vera is a nurse, which adds a very haunting angle to the movie. Although it is a heartbreaking film and moving in every sense of the word, Testament of Youth does however retain a sense of glimmering hope in the form of Vera. Through her struggles, we witness her transform and eventually see her ultimately become a passionate pacifist, who refuses to forget the fallen. Vera Brittain was such a brave woman and it is shown here how she suffered immense pain, but managed to survive being engulfed by it to write her personal story down for the world to know. There may be romance within the story between Vera and Roland, but it is not a full-blown passionate union. It is a fleeting and tentative romance that only heightens the ultimate tragedy that it later ends in. A beautifully evocative score adds considerable impact to events and seems to act as Vera’s resilient voice as the war rages on and personal suffering surrounds her.

Anchoring the film with a powerful performance is Alicia Vikander as Vera Brittain. Essaying the part with depth, emotional subtlety and strength, we get a real picture of what Vera endured during the war and how it shaped her as a person. Vikander brings passion to the part and never reverts to over the top displays of emotion; the effectiveness of her performance lies in the nuance she gives it and how she doesn’t require a single line of dialogue to get across the intense emotions within her. Kit Harington is very good at portraying Roland, the man who Vera falls in love with and who makes a deep impression on her. His scenes with Vikander are wonderfully acted to say the least and contribute to their doomed romance. Then there is Taron Egerton, who imbues Vera’s brother Edward with a loyalty and sympathy that is sensitively observed. There is a deep honesty to Egerton’s performance that really shows his talent here. Colin Morgan is subtly wonderful as the pining Victor, and there is excellently classy support provided by Emily Watson and Dominic West as Vera’s disapproving parents.  Seen in a small role as a nurse working with Vera on The Front, Hayley Atwell makes the most of the part and Miranda Richardson contributes her usual reliable presence as an Oxford teacher who comes to respect Vera.

Testament of Youth is an emotional recounting of Brittain’s memoir and it does the deeply personal subject matter of suffering, sacrifice and perseverance justice with clarity and a strong lead performance from Alicia Vikander.

The Man from U.N.C.L.E

Tags

2010's, Action, Alicia Vikander, Armie Hammer, Elizabeth Debicki, Guy Ritchie, Henry Cavill, Hugh Grant, Spy, The Man from U.N.C.L.E

Film Title

The Man from U.N.C.L.E

Director

Guy Ritchie

Starring

• Henry Cavill as Napoleon Solo
• Armie Hammer as Illya Kuryakin
• Alicia Vikander as Gaby Teller
• Elizabeth Debicki as Victoria Vinciguerra
• Hugh Grant as Alexander Waverly

A super slick and retro-tinged reboot of the 60’s television show brought to life by the great direction of Guy Ritchie, The Man from U.N.C.L.E is a stylish and delightfully light-hearted spy movie that will leave you with a ridiculous grin on your face because of the utter enjoyment and excitement there is to be had with it.

The year is 1963 and the Cold War is at its height. Suave and super cool CIA agent Napoleon Solo, who was once a former thief, manages to extract the beautiful mechanic Gaby Teller from East Berlin. Their attempt at this is only hampered by the interruptions of violent and hulking KGB agent Illya Kuryakin. Gaby is the daughter of a scientist who has been kidnapped and forced to help craft a nuclear bomb. With Gaby now seemingly safe for the time being, Solo is briefed by his CIA head about a dangerous new mission, with a very big and unexpected difference. All traces of this potential nuclear disaster point to a shipping company headed by the seductive Victoria Vinciguerra and her husband, who are both Nazi sympathizers. With their plan for the nuclear bomb, both the KGB and CIA are worried about the potential worldwide crisis it would bring. The two agencies agree to work together, and this is where the debonair Solo comes into contact once more with the taciturn and efficient Kuryakin. They are to work together to infiltrate the Vinciguerra company and rescue Gaby’s estranged father, along with acquiring his research for either government covertly. As part of the cover, the quick-witted Gaby comes along pretending to be the fiancée of Kuryakin. The mission, that takes them from Germany to Rome, is not going to be easy, especially because of the intense rivalry and dislike between Solo and Kuryakin. But soon enough, the mismatched agents see that they must put aside their differences and competitive nature aside in order to work as a team in order to avoid a world destroying plan, that is now dangerously in quickening motion.

From the opening of the movie with a groovy title sequence detailing the history of the Cold War set to a slinky soundtrack, you know that The Man from U.N.C.L.E will definitely be a delightful way to spend a few hours. Guy Ritchie directs with colourful exuberance, crafting this world of espionage as one of glamour and danger, which often intertwine. From the use of split-screen and unusual camera angles, Ritchie seems to be firing on all cylinders and this is for the better as it gives kinetic energy and well-timed humour to the proceedings. A quick fire script of blisteringly amusing one-liners and situations is an utter marvel and really delivers in the thrill department too. Costume design is suitably eye-catching and the sets recall the early Bond movies with luxurious mansions, castles and racetracks. A jaunty and adventurous score underlines the light-hearted, breezy atmosphere of the film, merging perfectly with well-chosen songs from the 60’s. You’d think that with all this visual splendour taking place that The Man from U.N.C.L.E would suffer in the story department. Thankfully, the plot of the movie retains interest throughout with its pastiche of spy action and mismatched buddy humour between the dashing Solo and moody Kuryakin keeping everything ticking over with panache. There will be those that will hop on the bandwagon and say that the movie is nothing but a show of excessive style, but I for one loved the style and thought that it complimented the movie, rather than hindered it.

Ritchie assembles a truly inspired and game cast who play their roles with such ease and charm. Heading this is the dapper Henry Cavill, whose smooth and cool as a cucumber personality make Solo a likable maverick style hero. Relishing the humour and equally adept with the physical stuff, Cavill shows that he has the requisite skill set to become a future contender for the role of James Bond. Equally as impressive is Armie Hammer, who uses his large frame and imposing stance to portray the violent and tough Illya. Yet he resists the temptation to just make Illya a massive brute and nothing else. He does this by infusing the character with a reluctant humour that is very funny as he begins to come around to the idea of working with Solo, who he holds deep animosity for. The wonderful Alicia Vikander( who is fast becoming one of my favourite actresses) is luminous and sparky as Gaby, who in the beginning comes across as just a quick-witted but very sweet pawn in the game. In reality, she is whip-smart and knows a lot more than she’s letting on. All of this, plus sparkling chemistry with the leading men, make the performance by Alicia Vikander a joy to watch. As the other female in the movie, Elizabeth Debicki is delightfully cunning and poisonous as the femme fatale with dangerous plans on her mind. And rounding out the cast is Hugh Grant, who has the necessary adroit humour and authority to play a spymaster, pulling many of the strings on the mission.

A colourful, amusing and thrilling spy caper, The Man from U.N.C.L.E is in a nutshell a movie that is full to the brim with wit, action and fun.