The Fighter

Tags

2010's, Amy Adams, Based on a true story, Christian Bale, David O. Russell, Mark Wahlberg, Melissa Leo, Sports Drama, The Fighter

Film Title

The Fighter

Director

David O. Russell

Starring

• Mark Wahlberg as Micky Ward
• Christian Bale as Dicky Eklund
• Amy Adams as Charlene Fleming
• Melissa Leo as Alice Ward

Based on the true story of boxer Micky Ward and his unexpected comeback, The Fighter is an exceptional sports drama that benefits from the highly powered cast it has and immensely satisfying direction.

It’s the early 90’s in Lowell, Massachusetts and Micky Ward is a promising boxer with talent but not much luck. He is trained by his half-brother Dicky Eklund, who had a shot at the big time but has since fallen into drug addiction, a large group of sisters on his back and his brash mother Alice manages his career, thought it seems her main interest is the money at first. Yet while Micky has loyalty to for teaching him almost everything he knows about boxing, he has started to become wary of his brother’s drug habit and how his mother manages his career. And after another defeat that seriously knocks the wind out of his sails, he contemplates whether he should continue with boxing. Of course, his family doesn’t take too kindly to this idea. Yet Micky finds comfort in the arms of honest barmaid Charlene, who tells Micky that he will have to cut ties with his family if he ever wants to succeed as a fighter in the big time. Dicky finds himself in serious trouble and is put in prison for various crimes, which severs a lot of the relationship between him and his brother for a while. It all comes down to Micky to make this decision of whether family loyalty is as important as striving to hit the heights of greatness before it is too late and he can longer do it.

David O. Russell is on confident directorial duties and brings a variety of talent and vision to The Fighter. He uses a good helping of grit and infuses it into the material, best shown in the slight grain the film is tinted with to heighten a sense of authenticity. The crowd pleasing aspects come off amazingly and we all love to root for the underdog story, and this is one such story. Between the upheaval of family shouting matches and Micky’s attempts for success, The Fighter manages to satisfy both audiences that it is going for; the fans of boxing movies and those who like based on true life success tales. There is some great use of juxtaposition; seen when a drugged up Dicky is recounting his promising fight from years ago against Sugar Ray Leonard and then inter cut to this is the real footage of his once successful time, clearly showing just how far he has fallen since. This allows characters to shine in the film, especially Dicky, who undergoes a major transformation once incarcerated. At first, The Fighter is a little slow off the mark, before soon swinging into victory by pulling your interest into the story with the amount of energy and growing inspiration it has going through its veins. There is a healthy sprinkle of humour in the film( particularly shown in the fact that Micky can hardly get a word in edge ways because of his outrageous family) that actually works in the long run and doesn’t distract from the drama. And once the film gains footing, it plays out rather nicely and doesn’t disappoint you with its outcome. A knockout soundtrack bristles throughout The Fighter, driving a lot of the action both emotionally and aurally.

Mark Wahlberg cuts a subdued and good-natured presence, tempered with a deep feeling of dilemma of what to do. He is caught between his family and his abilities, and Wahlberg captures that excellently as the quiet heart of the inspiring story. It’s as much a physical performance as one that is emotionally internal too, a balancing act Wahlberg maintains to a high degree. Wahlberg’s quiet and subtlety are offset marvellously by the immensely convincing work of Christian Bale, who picked up a fully merited Best Supporting Actor Oscar for playing Micky’s drug-addicted brother. His very appearance, skeletal and almost spider like in movements, is so wholly convincing and integral that you can’t tear your eyes away from him. Yet while visually adept for the part, Bale also emotively brings out the shattered dreams of the pitiful Dicky, who can’t see that his days as a fighter are over because of how hooked on crack he is. There is a tragedy to the part that Bale plays to perfection and both this and his physical commitment to the role burn into the memory for a long time. Amy Adams is well cast against type as Micky’s girlfriend and supporter Charlene. The role allows Adams to showcase her versatility as a sexy and feisty lady; and the part is very different from how many have usually seen her in the past. Starring as Charlene, she imbues the part with an understanding and realistic toughness that fits it like a glove, as she encourages Micky to take a chance. She drops a million f-bombs, calls people out on their bull and has an attitude to burn; all of which Adams brings to the table with her considerable talents that cement her as one of the best actresses and my personal favourites out there. Melissa Leo, who collected a Best Supporting Actress Oscar for her role, is on fine form too as the mother/manager of Micky. While the part calls for her to be showy and aggressive, Leo makes it all work and unravels how Alice wants good things for her kids, she just can’t handle anyone else that she sees as getting in the way and undermining her. The role could have easily become a caricature, but with the winning Leo playing it, any such trepidation melts away as her boisterous yet realistic performances attests to.

A well-directed and entertaining sports drama, The Fighter comes out as an inspiring and eventful story with an authenticity and splendid cast ensuring a knockout delivery.

A Midsummer Night’s Dream

Tags

1990's, A Midsummer Night's Dream, Anna Friel, Bernard Hill, Calista Flockhart, Christian Bale, Comedy, David Strathairn, Dominic West, Fantasy, Kevin Kline, Michael Hoffman, Michelle Pfeiffer, Romance, Rupert Everett, Sam Rockwell, Sophie Marceau, Stanley Tucci, William Shakespeare

Film Title

A Midsummer Night’s Dream

Director

Michael Hoffman

Starring

• Kevin Kline as Nick Bottom
• Michelle Pfeiffer as Titania
• Rupert Everett as Oberon
• Calista Flockhart as Helena
• Anna Friel as Hermia
• Dominic West as Lysander
• Christian Bale as Demetrius
• Stanley Tucci as Puck
• David Strathairn as Theseus
• Sophie Marceau as Hippolyta
• Bernard Hill as Egeus
• Sam Rockwell as Francis Flute

A well cast and amusing adaptation of the classic Shakespeare comedy, A Midsummer Night’s Dream gets points for direction, writing and acting. Yes it isn’t the best Shakespeare adaptation there is and there are a few flaws, but by and large it’s a success of love’s complications, romantic entanglements and mischievous magic.

The setting is Italy near the beginning of the twentieth century( in the play the setting is Greece). The Duke Theseus is preparing for his upcoming marriage to Hippolyta. He is a respected man and is asked near the beginning to help Egeus with his problem. The problem in question is his daughter Hermia, who he has betrothed to Demetrius. Hermia is actually enamored with Lysander, but their love is forbidden. With Hermia being forced to marry Demetrius, the young lady and her lover Lysander secretly plan to elope. Meanwhile, Hermia’s friend Helena pines for the moody Demetrius, but to no avail as he loves Hermia. The downtrodden Helena seizes the opportunity to make an impression on Demetrius by informing him of Hermia and Lysander’s plans to run away one night through the nearby forest. Demetrius follows the two star-crossed lovers deep into the forest, with the desperate Helena behind him. Yet what none of the four realise is that the forest is inhabited by fairies, and most importantly the fairy King Oberon and his wife Queen Titania. The couple is going through trouble and their differences begin to hold sway on the fates of the four young lovers in the forest. The scheming Oberon, to get back at Titania, devises an amusing plan and enlists the help of loyal but mischief-loving sprite Puck to help. By obtaining a magical flower and applying the nectar of it to the eyelids of Titania, when she awakens she will fall in love with the first person she sees. Into this game unintentionally comes the talkative actor Nick Bottom and his company, who are rehearsing a play to perform at the upcoming wedding. Using the flower on Titania and then turning the unsuspecting Bottom into a donkey, a funny beginning of events flourishes as Titania becomes smitten with the transformed Bottom, much to the actor’s surprise and delight. Oberon also asks Puck to help out Helena so that Demetrius falls in love with her. But naughty Puck accidentally mistakes Lysander for Demetrius and soon enough chaos ensues as the romances interlink and much squabbling occurs thanks to Puck’s devilish intervention.

Michael Hoffman successfully translates the enjoyable and funny qualities of the play to the screen with both imagination and inventiveness. He updates the setting to pre-twentieth century and it actually works very well, though I’m sure purists may quibble and take issue with it. The update allows for some beautiful scenery and gorgeous cinematography that is marvellous. A few parts of his direction are flawed, such as letting some scenes in the middle to lumber on longer than necessary, yet his overall control and skill is evidence throughout as he retains the riotous humour of the piece. Hoffman also is adept at being scriptwriter, bringing the fantasy and romantic switch ups into full fruition with humour and style and sticking to Shakespeare’s poetic verve. A vibe of sexiness is ever-present through this film; found in the double entendres and the presence of Cupid gone awry, causing humorous and unexpected matches. A modernity also pervades many parts of this adaptation, with the literal mud-slinging style catfight between Hermia and Helena a highlight. Set design, particularly in the enchanted forest and Titania’s otherworldly domain, has a definite theatrical quality that feels right for something like A Midsummer Night’s Dream, yet is embellished by the beauty of cinematic eyes and the gorgeousness that celluloid can provide. A light and twinkling score, also infused with some grand operatic arias, sets the pace of the film and what will follow with playful glee.

A handsomely star-studded cast fleshes out the roles of this romantic comic fantasy and are skilled with speaking Shakespeare’s words. The biggest standout is Kevin Kline, who is in his element as the buffoonish but strangely touching Bottom. By balancing the two aspects of comedy and pathos, Kline rules the roost and gives his all to the comic yet poignant character whose garrulous ways and thespian dreams are turned on their head by the adventure in the forest. An effervescent Michelle Pfeiffer is ideally cast as Titania; radiating imperious mannerisms and sweet love especially when funnily bewitched by a transformed Bottom. Not only does Pfeiffer look the part, she plays it extremely well and with ethereal poise. Rupert Everett, with his smooth voice and rakish demeanor, makes for an appropriately louche Oberon, whose schemes are both amusingly wicked and benevolent yet flawed. Calista Flockhart is an inspired choice for the part of Helena, emerging both as earnestly passionate but unlucky and wittily sharp. Flockhart’s performance which takes on a tragicomic nature is up there with Kline as one of the standouts within A Midsummer Night’s Dream. An appealing performance of spirit and vivacity is given by the gorgeous Anna Friel, who gets some very good lines as the star-crossed Hermia. Both Dominic West and Christian Bale have fun as Lysander and Demetrius, who more often than not are sparring partners battling for the affections of Helena and Hermia thanks to the magical mix up. Lending impish relish, sprightly naughtiness and hilarious moments is the ever reliable Stanley Tucci portraying Puck, whose attempts at bringing lovers together go rather awry. Now in supporting roles we have David Strathairn, Sophie Marceau, Bernard Hill and Sam Rockwell, who are all actors I very much admire. The trouble is they aren’t utilized  well enough here and the film could have benefited from showing them a bit more.

Purists may balk at the change of setting and it must be said that a few parts of the film could have been trimmed, yet A Midsummer Night’s Dream is a warmly funny and sexy interpretation of the play from the Bard.

Little Women(1994)

Tags

1990's, Christian Bale, Claire Danes, Coming-of-Age, Gabriel Byrne, Gillian Armstrong, Kirsten Dunst, Little Women, Mary Wickes, Period Drama, Samantha Mathis, Susan Sarandon, Trini Alvarado, Winona Ryder

Film Title

Little Women

Director

Gillian Armstrong

Starring

• Winona Ryder as Jo March
• Trini Alvarado as Meg March
• Claire Danes as Beth March
• Kirsten Dunst as Young Amy March
• Susan Sarandon as Marmee March
• Christian Bale as Laurie
• Mary Wickes as Aunt March
• Samantha Mathis as Adult Amy March
• Gabriel Byrne as Friedrich Bhaer

Adapted from the much-loved novel of Louisa May Alcott, Little Women is a heart-warming, movingly told gem of a coming of age movie about the importance of family and sisterhood. Boasting strong performances, beautiful cinematography and emotive music, Little Women is a joy for everyone to watch.

The focus of the story is on the women of the March family in the years of the Civil War and the time after in Concord, Massachusetts . Meg is the beautiful, gracious but slightly vain eldest, Jo is an expressive tomboy with a passion for writing, Beth is sensitive and earnest,  Amy is the romantically winsome and spoilt youngest. Their mother, affectionately known as Marmee, guides them through their lives with loving care but makes sure the girls manage to stay true to themselves no matter what whilst their father is fighting in the war that to them seems to be never ending. The sisters come across love, hardship and kindness as they grow up and experience the vicissitudes of life. The sisters befriend Laurie; the lonely boy next door who becomes almost like a part of the family and yet he develops feelings for Jo along the way. The film follows the March sister’s various ups and downs, personal pain and happiness and the strong, unbreakable bond between the girls that is eternal. Crafted by Gillian Armstrong, Little Women is sensitively told and beautiful without falling into the trap of being overly sentimental in its story of these four special girls.

Gillian Armstrong brings to the forefront the feminist undertones of the story, embodied by Marmee’s wish that her four daughters develop their intellect as well as blossoming beauty. Some purists may take issue with this and feel that it is bashing people on the head with the message, but it does the opposite by subtly adding an interesting dimension to the story and gives us an array of strong female characters that live long in the memory. Armstrong obviously feels a connection to the story and as her past output often features strong female characters, it’s not difficult to see why such a talented film maker would adapt this classic, intimate story for the screen. As the story spans many years in the lives of these girls, the expressive cinematography captures the changing of time to stunning effect by showcasing the beauty of the seasons. The evocative score by Thomas Newman highlights the deep themes of family importance and the various differing personalities of the March sisters as they make their journey through life and all that it entails. It was rightly nominated for an Oscar and it isn’t difficult to see why. As an audience, we glimpse the various troubles and joys that make up the lives of these characters. Many of the scenes stay strong in the memory such as Jo’s feisty independence beginning to emerge, Amy’s near death experience when she slips through the winter ice, the sisters reading a letter from their father around the fire and the sensitive Beth’s battle with Scarlet Fever. It really makes for heart-warming viewing as these girls go through the various stages of life and experience the many changes that it brings.

Most of the joy that comes from the film is down to the cast. In the lead role as the idiosyncratic and hot-tempered Jo, Winona Ryder is a marvel at bringing both the tough side to her character to the forefront whilst showing us the emotional care she has for those around her. Ryder is delightful and makes the plum role of Jo her own, The beautiful Trini Alvarado is impressive as the manner obsessed Meg, who begins to understand the social standing isn’t everything in life. A young Claire Danes is suitably lovely and sensitive as the caring Beth, who seems to face even the toughest things life can throw at her with a sense of decency and a smile. Young Kirsten Dunst adds mischief and an amusing selfishness to her role as the hopelessly winsome Amy, who is a regular madam with her nose in the air. It must be said that the chemistry between the four young actresses is simply delightful and helps you buy into them as sisters. Susan Sarandon embodies the love but firm care of the girl’s mother, revealing a strong women intent on keeping her girls from becoming merely a decorative piece on a suitor’s arm. A young Christian Bale is impressive as Laurie, the boy next door who is first enchanted by the four March women and later befriended by them. Mary Wickes, with killer one liners and a withering eye, is a hoot as the rich Aunt March, who can’t seem to go a minute without finding something to bad mouth or look down upon. On the other hand, Samantha Mathis as the older Amy and Gabriel Byrne as a handsome professor involved with Jo, are underwritten and as a result don’t get much to do in terms of pushing the story ahead.

Touching, immensely enjoyable and crafted with beautiful care by Gillian Armstrong, Little Women is sensitive and loving viewing at its best.

American Hustle

Tags

2010's, American Hustle, Amy Adams, Bradley Cooper, Christian Bale, Comedy, Crime, David O. Russell, Jennifer Lawrence, Jeremy Renner

Film Title

American Hustle

Director

David O. Russell

Starring

• Christian Bale as Irving Rosenfeld
• Amy Adams as Sydney Prosser
• Bradley Cooper as Richie DiMaso
• Jeremy Renner as Carmine Polito
• Jennifer Lawrence as Rosalyn Rosenfeld

Loosely inspired by the FBI ABSCAM sting operation of the 1970’s, American Hustle is a slick, well-acted crime comedy with eccentric characters and themes of survival, deception and scamming. The style may distract from the narrative for some, but David O. Russell’s film is for the most part as tightly constructed as the perm donned by Bradley Cooper’s character. Boasting an excellent A List cast who all bring their talents to the forefront also helps with the success of American Hustle.

It’s 1978, Irving Rosenfeld is a con artist who is aided by the stunningly seductive former stripper Sydney Prosser who he is crazy in love with despite the fact he is married to Rosalyn and has a young son. Sydney poses as an English Lady of the Manor in order to help with the various cons they pull. Their scams are going pretty well until they are busted by FBI agent Richie DiMaso. Rather than hand them up to justice, he instead thinks of a better use for the two. He persuades them into helping him with sting operations, one in which involves Carmine Polito, the Mayor of New Jersey. As the operations continue, they become more dangerous as the mob becomes involved and Irving’s unstable wife Rosalyn begins to suspect something . But in the game of conning, nothing is as clear as it appears and our characters find themselves wound up in deceit and corruption. Prepare for snappy visual style, 70’s grooves and wardrobes, and a whole lot of fun as American Hustle delivers a humour filled journey through the world of con artists.

David O. Russell directs with visual nods to Scorsese and other crime capers. It is impossible not to watch the snappy edits and use of soundtrack and not think of a Scorsese movie. Although the visuals may overpower the story at certain points and the tone can be a little uneven, the script manages to entertain the audience none the less. Featuring humour galore and interesting characters to flesh out the sharp, snazzy story and the various incidents arising from Richie’s complicated plans. Various scenes that stand out are Irving’s morning routine of styling his elaborate comb over, the sassy Sydney dancing with Richie to the sound of Donna Summer and the unpredictable Rosalyn’s run in with a microwave (which she refers to as a space oven). Special praise must go to costume and hair styling as it is second to none. From gaudy ties to slinky sequined gowns and perms , American Hustle has major props when it comes to styling these characters that populate this crime comedy.

Yet the biggest impression and the thing you will remember the most, is the talented and starry cast of American Hustle. Christian Bales absolutely nails the role of Irving, giving us an interesting character who can be smart, jealous and skilled. Bale gained around  40 lbs for the role and the results show his commitment to the role and how skilled an actor he is. Amy Adams provides a multi-faceted performance in the form of Sydney; she’s intelligent, at times ruthless and sexy as hell. Adams shows us all these sides to her that helps us wonder which side her character really is on in this thrilling con game. Bradley Cooper is an absolute hoot as the over eager FBI agent Richie, he really does make your side split with some of the remarks he comes out with. Jeremy Renner manages to give us a sympathetic character as Carmine, the mayor who makes bad decisions for good reasons and as a result is drawn into the operations. Rounding out the main cast is Jennifer Lawrence as the unstable and spurned Rosalyn. Lawrence really is hysterical in this movie and the film gains a certain vibrancy and spontaneity whenever Rosalyn is onscreen as you wonder what she will possibly do next.

Snappy, hysterical and all round good fun, American Hustle is stylish and well executed. The substance may be slightly lacking, yet you will probably not notice because of the stunning central performances provided. American Hustle is some of the most fun I’ve had at the cinema for a while.