The Hobbit: The Battle of the Five Armies

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2010's, Aidan Turner, Benedict Cumberbatch, Billy Connolly, Cate Blanchett, Christopher Lee, Dean O'Gorman, Evangeline Lilly, Fantasy, Hugo Weaving, Ian Holm, Ian McKellen, Ken Stott, Lee Pace, Luke Evans, Martin Freeman, Orlando Bloom, Peter Jackson, Richard Armitage, The Hobbit: The Battle of the Five Armies

Film Title

The Hobbit: The Battle of the Five Armies

Director

Peter Jackson

Starring

• Martin Freeman as Bilbo Baggins
• Richard Armitage as Thorin Oakenshield
• Ian McKellen as Gandalf
• Orlando Bloom as Legolas
• Evangeline Lilly as Tauriel
• Lee Pace as Thranduil
• Luke Evans as Bard
• Aidan Turner as Kíli
• Dean O’Gorman as Fíli
• Ken Stott as Balin
• Benedict Cumberbatch as Smaug
• Billy Connolly as Dáin
• Hugo Weaving as Elrond
• Christopher Lee as Saruman
• Ian Holm as Old Bilbo
• Cate Blanchett as Galadriel

As the concluding part of The Hobbit trilogy, The Battle of the Five Armies is a successful last chapter and in my view the best of the Hobbit movies. Exciting, tense yet human in many ways, it’s a rousing finale that definitely captures the attention.

We begin this final slice of Middle Earth adventure were the last one left off. Having reaching the Lonely Mountain, Bilbo and the dwarf crew accidentally woke the vicious dragon Smaug from slumber. The fire-breathing creature leafs the confines of the kingdom and angrily heads to the adjoining Laketown, which he sets about destroying. What is left of the people flee the desolated town, but Bard sets about ridding the place of Smaug and succeeds by firing a makeshift arrow that ultimately kills the dragon. Yet even though Smaug is gone, there is still unrest and panic as the people look to the dwarves for help because of a promise made by Thorin to share in some of the gold within the mountain. The Woodland Elves, lead by the ruthless Thranduil, also have business with the dwarves as there is a collection of jewels he wishes to acquire. But Thorin is in no mind to listen Ashe slowly succumbs to dragon sickness, which clouds his judgement and eats himself up with greed. Bilbo begins to see how this is going to be a tough time as Thranduil declares war along with men on the dwarves for going back on their promise. Plans for war among them are quickly questioned when Gandalf returns after discovering that the spirit of the dark lord Sauron has returned and that an Orc army is heading their way. It is then left to the elves, dwarves and men to decide whether to unite or be divided. They’ll have to make a choice soon as word, thanks to elves Legolas and Tauriel filters through that it isn’t just one army of orcs, but two that are heading to spread darkness across Middle Earth. For Bilbo and the others, it is time to face the ultimate battle of their lives.

What is immediately striking about The Battle of the Five Armies is the efficient running time. Often with last parts of trilogies or Film series, there is a temptation to make things very long-winded and drawn out. Thankfully, Peter Jackson and his stunning direction keep events ticking over nicely and wrap things up with style, not allowing any loose ends or flab to drag the movie down into boredom. On a visual level and an excitement one, The Battle of the Five Armies is the best of the Hobbit movies. The battles are orchestrated with such precision and depth that gives it something else that the other two movies lack, which is a heart. Emotions run very high and the movie alternates between fun, tense and tragic in the space of mere minutes, which is excellent. And thank goodness for the decision to use CGI wisely and not overindulge in it. Set pieces are of a particularly high standard, with special mention to Smaug destroying Laketown and the two battles that form the backbone of the movie. It’s fantasy with a sense of emotion and passion that comes off remarkably well thanks to the wonderful direction and imagery. I liked how the films wrapped up the saga of Middle Earth and helped events come full circle in the end. A thundering Howard Shore score is the perfect sonic companion to the film, peaking with epic scope and emotional heights.

Martin Freeman has really grown into the role of Bilbo and is once again excellent in an understated way. He never overplays his scenes, instead relying on subtlety to show us the brave heart and occasional wrestling with conscience that he must endure. As good as Freeman is, this movie belongs to Richard Armitage. Portraying Thorin as blinded by his sickness and full of tragic greed, he brings out the fact that he is a good king underneath it all and it is really good when he snaps out of his sickness and leads his crew into battle with inspiration. Ian McKellen is reliably wonderful as the powerful and sagacious Gandalf, who knows of the dark tide beginning to turn. Orlando Bloom imbues Legolas with a gracefulness that belies his capacity for battle and stands him in good stead when he takes part. Evangeline Lilly is tough yet very luminous Tauriel, whose heart belongs to Kíli and who can more than handle herself when confronted with the violence unleashed on Middle Earth. I liked how Lee Pace as Thranduil, remote king of the elves expanded upon his character to show why he is so cold and unfeeling towards others. Luke Evans has that every man quality about him that makes him the voice of the people portraying the proud Bard, while Aidan Turner is touching as the stout-hearted dwarf Kíli. Dean O’Gorman and Ken Stott flesh out the parts of two of the more prominent members of Thorin’s company. Benedict Cumberbatch utilizes his commanding voice to give life to the fierce and very dangerous Smaug, whose opening attack on Laketown is a killer set piece. Some comic relief comes from Billy Connolly as Dáin,Thorin’s irascible cousin who comes to his aid in the epic battle sweeping the lands. Cameos come from Hugo Weaving, Christopher Lee, Ian Holm and Cate Blanchett and suffice to say, they’re all very good as characters we are familiar with within the landscapes of the movies. Plus they all take part in an exhilarating conflict with the forces of Sauron which is a very good part of the movie.

With emotional heft and magical prowess, The Battle of the Five Armies is a well crafted last entry to the saga that is wholly satisfying from beginning to end.

The Hobbit: The Desolation of Smaug

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2010's, Aidan Turner, Benedict Cumberbatch, Dean O'Gorman, Evangeline Lilly, Fantasy, Ian McKellen, James Nesbitt, Ken Stott, Lee Pace, Luke Evans, Martin Freeman, Orlando Bloom, Peter Jackson, Richard Armitage, The Hobbit: The Desolation of Smaug

Film Title

The Hobbit: The Desolation of Smaug

Director

Peter Jackson

Starring

• Martin Freeman as Bilbo Baggins
• Ian McKellen as Gandalf
• Richard Armitage as Thorin Oakenshield
• Benedict Cumberbatch as Smaug
• Evangeline Lilly as Tauriel
• Luke Evans as Bard
• James Nesbitt as Bofur
• Ken Stott as Balin
• Aidan Turner as Kíli
• Dean O’Gorman as Fíli
• Lee Pace as Thranduil
• Orlando Bloom as Legolas

The Desolation of Smaug presents the second entry into the Hobbit trilogy and it emerges as a much more confident and enjoyable film than An Unexpected Journey thanks to some cracking visuals, good cast and a genuine sense of tense excitement running through it. If it is fantasy and adventure you crave, The Desolation of Smaug is the answer.

We catch up with Bilbo, Thorin, Gandalf and the band of dwarves as they flee from by the vicious orcs. They find refuge in the home of a skin changer Beorn, before moving on in their journey to reclaim The Lonely Mountain from fire-breathing dragon Smaug. Gandalf for a while leaves the group as he tries to find out more about a brewing sense of evil elsewhere in Middle Earth. Continuing on, the more confident Bilbo comes to see that the ring he found in the goblin cave may be able to help in some ways but also corrupt in others that he can’t possibly imagine. Coming across the woodland elves, headed by the cold Thranduil and also consisting of his son Legolas and Tauriel, a she elf with a fierce sense of defiance, they are captured and questioned on the nature of their quest. Thranduil offers Thorin a deal, but the vengeful and headstrong dwarf king who resents the elves refuses it. After escaping the woods, the company travel far and wide, encountering various creatures such as enormous spiders, before eventually being smuggled into Lake Town by the mysterious Bard. A growing sense of immense danger begins to linger as they get ever closer to the mountain and the task at hand becomes perilous in every single way as war starts to brew. When they reach the mountain, it is no simple task of reclaiming the kingdom and there is no way that the cunning Smaug is going to let his iron grip of the place go to anyone. Can Bilbo and the dwarves reclaim what is theirs before all hell breaks loose?

Straight off the bat, The Desolation of Smaug has an immediacy that thrusts you into the adventure at hand and flows very well, unlike the predecessor that took a while to get going. Peter Jackson wonderfully constructs this tale of dangerous peril and determined quests to spectacular fashion and meticulous skill. Nervous tension is generated in some thrilling set pieces that really make you jump at times and wonder how the group is going to hack their way out of oncoming trouble. Arresting locations are a plenty, filled with beauty and The pace is well-handled and only drags on the rare occasion, making the film all the more enjoyable as we are swept into a world of fantasy. And thankfully there isn’t an overuse of CGI, which seemed to be the case during the first installment. Out of the effects used to create the creatures of Middle Earth, Smaug is one of the most majestic and technically well designed ones that really lingers in the memory for its visual power. Swathed in gold treasures, massive in movements and enormous in size, he is a dragon you won’t forget. A stirring score from Howard Shore further propels the film into magical enchantment and otherworldly brilliance.

Martin Freeman impresses once more as Bilbo, who has grown into a stronger character than before. I liked the way he portrayed Bilbo’s fascination with the ring and the way he sees that it does have a side to it that is very dark and powerful. He also nails the curiosity and humour of Bilbo very well. Ian McKellen may have had less scree time in this movie, but he still owns the part of Gandalf through his clear professionalism and dedication to the character. Richard Armitage gives Thorin a hotheaded temper, somewhat self-centered goal but also a certain desperation to take back his home that really fleshes out the character of Thorin. Making a huge impact on the film is Benedict Cumberbatch, who supplies the voice for the almighty Smaug. Letting his voice boom and echo, he lends the creature a fear-inducing quality and sense of dark things to come. The beautiful Evangeline Lilly makes her mark on the series portraying the elf Tauriel, who is a dab hand at doing battle with enemies and not one for following the rules of her king. I liked her character and thought that the attraction between her and Kíli was a nice touch, adding depth to both characters and making Aidan Turner’s Kíli even more likable. Luke Evans made for great casting as the mysterious Bard, who knows a lot more about the quest and the history of it that he lets on to the travelling adventurers. James Nesbitt, Ken Stott and Luke O’Gorman continue to shine as the dwarves that stand out of the group. Lee Pace, with his fixed gaze and authoritative demeanor, is excellent as the elf king Thranduil who isn’t really interested in helping anyone and just wants to sit in his ivory tower away from trouble. It was a good touch bringing skilled archer Legolas back and Orlando Bloom is great as he was in the Lord of the Rings movies.

The Desolation of Smaug is a definite step up from An Unexpected Journey and leaves us wanting more and excited for the final chapter.

August: Osage County

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2010's, Abigail Breslin, August: Osage County, Benedict Cumberbatch, Chris Cooper, Dermot Mulroney, Drama, Ewan McGregor, John Wells, Julia Roberts, Julianne Nicholson, Juliette Lewis, Margo Martindale, Meryl Streep, Misty Upham, Sam Shepard

Film Title

August: Osage County

Director

John Wells

Starring

• Meryl Streep as Violet Weston
• Julia Roberts as Barbara Weston-Fordham
• Ewan McGregor as Bill Fordham
• Juliette Lewis as Karen Weston
• Julianne Nicholson as Ivy Weston
• Chris Cooper as Charles Aiken
• Abigail Breslin as Jean Fordham
• Benedict Cumberbatch as ‘Little’ Charles Aiken
• Margo Martindale as Mattie Fae Aiken
• Dermot Mulroney as Steve Huberbrecht
• Sam Shepard as Beverly Weston
• Misty Upham as Johnna

A dark and intense examination of a family falling apart and suffering burdens after reuniting for a funeral, August: Osage County may not be the most comfortable film to watch. But with a talented ensemble cast and simmering tensions that eventually boil over, it sure makes for eventful and dramatic viewing.

In sweltering Oklahoma, Beverly Weston was once a respected poet whose work has declined in recent years and send him into consuming alcohol to drown his sorrows. Matter aren’t helped by his strong-willed and verbally abusive wife Violet, who is suffering from mouth cancer but is addicted to pills. Although he hires a young Native American caregiver called Johnna to help, the demands and abuse aimed at him by his wife proves too much. One day, Beverly has had enough of the torment and disappears. Days later, he is found drowned after taking his boat out on the lake. His extended family who have drifted apart reunite for his funeral. The rest of the family consists of Violet and Beverly’s daughters: wounded favourite Barbara, meek middle child Ivy and dippy youngest Karen.Barbara’s estranged husband Bill, their rebellious teenage daughter Jean, Violet’s sister Mattie Fae, her husband Charles, their shy son known as ‘Little’ Charles and Karen’s latest fiance Steve are also in attendance. As the family attempt to cope with their grief, various tensions and secrets soon take over and anger, resentment and bitterness threaten to destroy what is left of the already troubled and dysfunctional extended family.

As I previously mentioned, August Osage County isn’t the easiest film to sit through. With its flawed characters and feuds a plenty, this is not a bunch of characters who have lived a sunny existence. But then again, they’re not supposed to be the easiest characters to relate to and the under the skilled direction of John Wells, the film shows how they are all not as perfect as some of them make out. Dramatics are the order of the day as arguments and truths engulf the family, the verbal sparring is very well done and drips with venom as everyone begins to reach breaking point. Some scenes do lapse into melodrama occasionally and restraint isn’t exactly the films strong suit. The film may never truly escape its theatrical origins but in turn the confined setting of the Weston house gives the movie a claustrophobic and stifling atmosphere of intensity as the heat continues to rise and lies begin to spill out. The roving camerawork captures the heated emotions up close and personal and add to the themes of familial ties beginning to break and the difficult reasons why.

The impressive ensemble cast is what gives August: Osage County its intense impact. Meryl Streep is a force of nature as the acid spitting Violet, whose truth-telling begins to drive the fractured family apart. She impressively captures her strong-willed nature, but also a mean streak that often rears its ugly head in this time of pain. Yet, we do get to see the damaged side to Violet that occasionally shines through thanks to the splendid work of the talented Meryl Streep. Julia Roberts is equally impressive as her eldest daughter Barbara, who burns with anger towards her mother and the burdens placed on her. This is easily some of her best work as she imbues Barbara with a rage and ferocity rarely seen by Roberts before now. Ewan McGregor does his best in the role of Barbara’s estranged husband Bill, yet I don’t think he’s given enough to do to make him a memorable character in this escalating family saga. Juliette Lewis is flighty and gullible as Karen, whilst Julianne Nicholson offers a moving performance as the put upon Ivy. Chris Cooper embodies the moral centre of the dysfunctional family Charles, who sees exactly where the arguments and disagreements are going to lead. Margo Martindale is utilised well as Violet’s sister, who berates her timid son and seems to have got the same mean streak as her sister. Abigail Breslin is quietly sullen and alienated as Barbara’s teenage daughter Jean. Benedict Cumberbatch is sympathetic and vulnerable as Little Charles, who is secretly in a relationship with his cousin Ivy and constantly made to feel inadequate by his mother. Filling out the other roles effectively are Dermot Mulroney, who gives a sleazy edge to his character, Sam Shepard as the worn out Beverly whose death brought the family together and Misty Upham as the quiet caregiver to Violet.

It may be dark and pessimistic, but with the talented cast on electrifying form and the dysfunction cranked up to eleven, August: Osage County is nothing short of eventful in the dramatic stakes.

12 Years a Slave

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12 Years a Slave, 2010's, Alfre Woodard, Based on a true story, Benedict Cumberbatch, Brad Pitt, Chiwetel Ejiofor, Lupita Nyong'o, Michael Fassbender, Paul Dano, Paul Giamatti, Sarah Paulson, Solomon Northup, Steve McQueen

Film Title

12 Years a Slave

Director

Steve McQueen

Starring

• Chiwetel Ejiofor as Solomon Northup
• Michael Fassbender as Edwin Epps
• Lupita Nyong’o as Patsey
• Benedict Cumberbatch as William Ford
• Paul Dano as John Tibeats
• Paul Giamatti as Theophilus Freeman
• Sarah Paulson as Mary Epps
• Brad Pitt as Samuel Bass
• Alfre Woodard as Mistress Harriet Shaw

Unrelenting, visceral and staggeringly powerful, Steve McQueen’s 12 Years a Slave is based on the true story of Solomon Northup, a free black man who was kidnapped into slavery and unimaginable cruelty. It won’t be the easiest film to watch, but it shouldn’t be as it shows the horrifying constitution of slavery and one mans quiet bravery in order to survive.

Beginning in 1841, Solomon Northup is a free black man living in Saratoga Springs, New York with his wife and two young children. He works as a carpenter and is highly skilled at playing the fiddle. He is offered a two-week job as a musician by two men, who proceed to drug him and place him in chains in preparation for being sold into slavery. Stripped of his freedom and renamed Platt he is first sold to William Ford, who is relatively benign and benevolent towards Solomon. The same can’t be said about John Tibeats, the weasel like worker of Ford’s takes every opportunity to voice his racist attitudes and tensions soon come to a shocking head. In order to help Solomon, Ford sells him to Edwin Epps. Solomon realises that in order to survive he must hide the fact he is an educated man and be as quiet as possible. Unfortunately, Epps is a violent,unpredictable slave owner who believes he is doing the work of God by abusing his plantation workers. Epps lusts after Patsey, one of his best workers who he also abuses many times. His lusting after her doesn’t sit well with his wife, who takes every opportunity she can to inflict pain on Patsey. As the years go by, Solomon attempts to survive by holding onto his hope. Prepare for a brutally honest, harrowing but also hopeful tale of the quiet courage of one man against the odds.

The first thing that deserves praise is Steve McQueen’s refusal to sugarcoat any of the torture that happens to the slaves. Whereas other movies shy away from it, McQueen lets his camera linger on the brutal scenes to show us the inhumanity of it. Two scenes that are hard to watch but staggeringly powerful and brutal are Solomon struggling with a noose around his neck as we hear his breathing become little more than a gasp and the horrifying whipping of Patsey, her back covered in lacerations and her face streaming with tears. I admire the way McQueen shows the unflinching detail and lets the audience feel the emotional and physical pain endured by the slaves. He doesn’t let the audience sit comfortably and makes them really squirm with the showing of human suffering. Hans Zimmer contributes an evocative score to match the emotional intensity of the film. The cinematography captures the twilight beauty of the bayou as the willow trees gently blow in the breeze but juxtaposes these with sickening images of torture and pain, creating the notion that there may be beauty in the world but the reality is a harsh and brutal eye-opener. To think that these inhumane actions really happened to people is horrifying to think of.

What really makes 12 Years a Slave a powerful and important film is the uniformly excellent cast. Heading this is the powerful performance of Chiwetel Ejiofor. He embodies the quiet, stoic bravery of Solomon with immense emotional dexterity. Even when he isn’t speaking, his intense eyes radiate the emotions his character endures as he attempts to survive the utter horror he has been thrown into. His performance is a marvellous and subtle piece of work that deserves all the praise it is getting. Tearing up the screen is McQueen regular Michael Fassbender as the evil Edwin Epps. Fassbender intensely plays this man of cruelty who uses religion as a way to justify his treatment of his slaves. He shows us the unpredictability of Epps as he wrestles with his desire for one of his workers. Lupita Nyong’o in her debut performance is a powerful presence in what has to rank as one of the best debut performances in cinema. She is heartbreaking, sincere and devastatingly powerful as Patsey, the slave who endures an immense amount of cruelty at the hands of her owners. Benedict Cumberbatch plays the benign slave owner who respects Solomon, whilst Paul Dano is a slimy, rat like presence as the insecure racist Tibeats. Paul Giamatti is the unscrupulous man who sells slaves without a care in the world. Sarah Paulson adds a frightening and vindictive dimension to her character, the spurned wife of Epps who unable to handle the love he has for one of his workers takes her anger out in horrifying fashion on the object of his affections. Brad Pitt has a small role as the abolitionist who listens to Solomon’s tale of survival. Pitt isn’t really given much to do in the film and his presence can be a little distracting. Alfre Woodard in a small but memorable role plays a former slave who is married to her former owner and now has servants to wait on her. The only flaw I can really think of is concerning the passage of time which isn’t really addressed that much. But with that being my only quibble, the film is still one of the most powerful and eye-opening films I’ve seen in a long time.

Raw, visceral and full of emotional impact, 12 Years a Slave is a powerful and haunting achievement in filmmaking that should be seen at least once by everyone for its examination of slavery and the courage of one man thrown into it.

Tinker Tailor Soldier Spy

Tags

2010's, Benedict Cumberbatch, Ciarán Hinds, Colin Firth, David Dencik, Gary Oldman, John Hurt, John Le Carre, Kathy Burke, Mark Strong, Simon McBurney, Spy, Stephen Graham, Svetlana Khodchenkova, Thriller, Tinker Tailor Soldier Spy, Toby Jones, Tom Hardy, Tomas Alfredson

Film Title

Tinker Tailor Soldier Spy

Director

Tomas Alfredson

Starring

• Gary Oldman as George Smiley
• Colin Firth as Bill Haydon
• Tom Hardy as Ricki Tarr
• John Hurt as Control
• Toby Jones as Percy Alleline
• Mark Strong as Jim Prideaux
• Benedict Cumberbatch as Peter Guillam
• Ciarán Hinds as Roy Bland
• David Dencik as Toby Esterhase
• Simon McBurney as Oliver Lacon
• Kathy Burke as Connie Sachs
• Stephen Graham as Jerry Westerby
• Svetlana Khodchenkova as Irina

Based on the classic by John Le Carre, Tinker Tailor Soldier Spy is a labyrinthine spy thriller with a perfect eye for detail and intelligent plot full of puzzles and mysteries. Boasting an all-star cast, precise and articulate direction by Tomas Alfredson and hauntingly scored by Alberto Iglesias, the film proves that the intelligent spy film that favours covert affairs and deception over shoot em up action are not dead.

The time is the 1970’s and London is a dour place of muddy yellows and muted mauve. Control, the elderly head of British Intelligence( commonly nicknamed “The Circus”) sends agent Jim Prideaux on a mission in Hungary to uncover information. The mission goes wrong when Jim is shot, captured and later presumed dead. In the ensuring crisis, Control and his right hand man, George Smiley are pushed into retirement. A year later, Control has died and Smiley is contacted by Oliver Lacon, a civil servant with a particularly interesting case. It appears that Ricki Tarr, an agent who was believed to have defected, has unearthed knowledge of a Soviet mole at the top of British Intelligence. It is either one of a few men including; the new aggressive chief Percy, the suave deputy Bill Haydon, the slimy Toby Esterhase or the silently menacing Roy Bland. Before his death, Control had the same suspicions about one of these men and as a result George accepts the difficult task of finding who the mole is in a web of lies, covert information, shifting identities and Cold War intrigue. Prepare for a spy thriller with a precise plot and genuine sense of suspense as Smiley uncovers many things as he nears the mole he is so desperately searching for.

One word of advice before watching the film is to not expect an action-packed narrative, Tinker Tailor Soldier Spy relies more on secret meeting, cryptic code names and shifting loyalties to keep the meticulous plot going. It is the kind of film that demands your attention, if you blink you could miss an important plot point or something of significance. There are those that will say it is boring, but if you like intrigue with intelligence then watch this. Tomas Alfredson directs with an inventive eye for detail and framing, capturing the weary existence that these characters occupy in this distrustful world. The complicated plot is carefully handled and you are really left wondering who the mole could be. The evocative score by Alberto Iglesias compliments the melancholy time and the many revelations uncovered in the course of Smiley’s investigation.

The biggest draw of the piece has to be the exceptionally talented cast assembled. Leading the cast is Gary Oldman in a restrained performance as George Smiley. Oldman excels at showing the rather unassuming looking and seemingly cold man but quietly revealing the immense intelligence that lies within him. His voice rarely rises above a whisper, but you can sense the emotions within him because of Oldman’s excellent portrayal. Colin Firth, Toby Jones, Ciarán Hinds and David Dencik all rivet the attention as the men suspected of being the Soviet mole within the high-ranking part of the service. Mark Strong is very effective as Jim Prideaux, the rather unlucky agent whose shooting opens the film. Strong imbues Jim with both a desolation and a determination that compliments his character’s journey in the complex narrative. Tom Hardy is another person who makes his part his own, as Ricki Tarr who wrestles with his duty whilst falling in love with a beautiful Russian woman in Istanbul. Benedict Cumberbatch is utilized to great effect as Peter, who becomes George’s right hand man in the search for the mole. The ever reliable John Hurt, commonly seen in flashback, is a great choice for the part of the elderly Control. In smaller parts, Kathy Burke and Stephen Graham appear as two staff members who were removed from the service. Simon McBurney has his moments as the pompous civil servant drawing Smiley into the ring of deception. Svetlana Khodchenkova is luminous and mysterious as Irina, the woman who steals Ricki Tarr’s heart whilst holding some valuable information.

As scrupulous as the mechanics of a prized watch and as twisting as a serpent, Tinker Tailor Soldier Spy is a classy, stylish and complex spy film. There are those that will become lost in the many turns and become confused by the many facts thrown at them, but the film succeeds none the less at capturing a specific time and creating interesting characters who populate a labyrinth of uncertainty and intrigue.