The Dark Knight Rises

Standing tall in the shadows...

It has been 7 years since the Joker caused havoc upon Gotham and Batman made the decision to become a fugitive for the greater good of the city. Since then, Gotham has undergone a massive overhaul in terms of battling crime, with the city experiencing a peace it had never before, and without the need for Batman, who has disappeared. Yet, all of this comes under threat when a man by the name Bane attempts to restructure Gotham into his own making.

Christopher Nolan has crafted something unique with his Batman trilogy. Instead of following in the footsteps of all those before him, Nolan attempted to take Batman out of the comics and into the real world, so to speak, in a way that made some sort of logical sense. It is a different kind of superhero movie and The Dark Knight Rises continues this trend. The time jump between the previous film and this one can be a little jarring at first. There is no real sign that things have changed in Gotham with the only information provided by various subtle conversations about the situation as it is. In some ways this can be problematic as it is difficult to truly gauge the context Nolan is attempting to create. But, it is this sort of understatement that encompasses the entire film. Things are not as they appear, and Nolan is not attempting to deceive the viewer of this: the fact that characters talk about Gotham but hint at problems ultimately serves as the perfect backdrop in which to force Bruce to take up the mantle of Batman once again. The rest of the story continues at a controlled pace but at times it can feel rushed. The motivations for some characters have to be understood and accepted almost on the spot and it can feel like such reasoning's are never given time to truly develop. Nevertheless, the story brings about what makes superhero movies so important: overcoming obstacles, and for Batman's 3rd attempt at character growth, it is a wonder to see the character become more then even he himself expected. As usual, some other characters are given some spotlight (and perhaps more so then the previous entries) such as the young cop John Blake (Joseph Gordon-Levitt) and Selina Kyle (Anne Hathaway). The story can feel rushed towards the end. The final 30 to 45 minutes cover a really long time period within the story and the sequence of scenes  Lastly, even though the film is a direct sequel to The Dark Knight it is important to note that thematic elements from the first still exist in order to build character development.

Supporting the well crafted, albeit slightly rushed, narrative is a top line of acting performances. The usual suspects (Caine, Freeman, Oldman) get the nods they so deserve for their respective characters but the new cast are thankfully just as good. Anne Hathaway as the mysterious Selina Kyle portrays the character with zealous and appears to have a good grasp on facial cues to truly sink in the reality of her character and the world around her. Next is Joseph Gordon-Levitt who, in comparison, brings a more reserved performance to the inquisitive cop Blake. But a nod must be given to Tom Hardy as the formidable Bane. Bane feels  powerful whenever on the screen and his voice is enough parts dominant and sophisticated to emphasis Bane as more then just some brute (as evident in pre-Nolan Batman). There is a good cast here, and they make their characters work. Finally, credit must be given to Bale who embraces the role of Bruce and Wayne and Batman head on. There is a subtle vigour to his performance which really strikes home his characters' anguishes and attempts to overcome the obstacles in their lives.

The most evident of the camera work this time around is that Gotham is not as much of a centre piece as it was before. In previous films, it was possible to see Gotham as a character in its own, especially since villains emphasised a need to test the limits which the city itself possessed. In The Dark Knight Rises, the test that occurs is not as apparent at first but the theme of a united Gotham continues. The film is also very much about the human characters and the camera supports this. That said, there are some great scenes throughout the film but the truly unforgettable scenes are more sparse than previous scenes in the trilogy. On a stronger note, the musical score is expectantly mesmerising.

As expected of the series, the film has a slightly darker feel than other superhero films but never to the point of pushing the envelope in terms of appropriate content. Violence is a standard affair though the kill count is higher then before. Language is almost non-existent and the same can be said about sexual elements.

Nolan's trilogy has finally come to its end after 7 long years, and there is no doubt that the wait for the finale was worth it. Like Batman Begins and The Dark Knight before, The Dark Knight Rises is virtually a top tier contender in every way. There is little to fault in a film that combines the fun of a superhero flick with the thoughtfulness of a human drama. If you believed in Christopher Nolan before, prepare to have your faith rewarded.

9/10

Tangled

Old is new...

Stuck in a secret tower for almost 18 years of her life, Rapunzel has been lead to believe that her special hair is a treasure which should be guarded from the world. She has never left the tower ever since being locked away, but this changes when Flynn, a thief, enters her life.

The classic tale of Rapunzel has many variations and Disney has decided to add their take to the tale by imbuing Rapunzel's hair with the ability to grant health and youth. It is through this very change that allows Disney to retread a narrative formula they used so effectively during their golden age of animation: the young princess at odds against an older, yet wicked, woman. This is introduced early in the story and constant interaction between Rapunzel and Mother Gothel ensures the audience never forgets the tyranny that has taken place. Tangled is, without a doubt, a story of self-discovery, and both Rapunzel and Flynn are evident of this growth. Naturally, this is more obvious through Rapunzel, and it comes as a breath of fresh air that Disney has allowed one of their princesses to act her age. Gone are the mature thinking and acting lead women of older stories as Rapunzel is childish, but ultimately charming. The self-discovery story arc does feel undeveloped as the credits roll, but thankfully the narrative is filled with symbolic gestures, such as the visual connection between lanterns and Rapunzel's hair, and life lessons for both children and adults alike. This is all bolstered by some strong humour that is never overused resulting in the narrative being a highlight of the film.

The voice actors do not disappoint as each is convincing as their respective character. Moore is delightful in displaying Rapunzel as a teenage girl who learns to be independent; Levi brings charisma to Flynn; while Donna Murphy ensures that Gothel is villainous but one who can manipulate that very label.

For the most part, the computer imagery achieves the desired goal of 3D variation of Disney 2D animation. Colour is rich, characters and animals are enjoyable to watch, and the complete sense of wonder is indeed present. If watched in the 3D perspective, the animation does slightly come to life but it never overly used and feels minimally underdeveloped. If there is a slight flaw to be found in the animation it would the occurrence of what appears to be unfinished textures. Many boulders, for instance, look rough at times, but this is thankfully uncommon.

This is a Disney animation through and through so the lack of sex, nudity and language is expected. Violence is tame and at times even comical, ensuring the usual Disney animation that kids can enjoy.

Tangled is a true gem for Disney and animation in general. While it lacks the overall appeal that has made Pixar animations such a treat, it is nevertheless a step forward for Disney as they retread the type of animation that made them so famous. There a few graphical niggles and the story never quite reaches the promising depth suggested by the material, but these are minor problems in what is largely an entertaining and pleasing animated venture.

9/10


Screen date: 28 January 2011
Release date: 28 January 2011

Shutter Island

Undeniably captivating ...

Taking on the case of a mysterious disappearance of a patient in a hospital for those who are criminally insane, US Marshall Teddy Daniels (Leonardo DiCaprio) and his new partner Chuck Aule (Mark Ruffalo) attempt to investigate a rather absurd escape. With the help of the head psychiatrist Dr. Cawley (Ben Kingsley), Teddy and Chuck attempt to unravel how a patient, named Rachael Solando (Emily Mortimer), was able to completely vanish from the confines of her locked room.

Shutter Island begins with a brooding image of a ferry making its way through some heavy fog, and it is the very enigmatic nature of the scene which claws its way throughout the narrative till the thought provoking conclusion. This becomes far more evident when many scenes and symbolic gestures in the film are soaked in a hint of polysemy. Of course this would not work without a very engaging storyline and Shutter Island makes for an exciting, and never dull, thriller. This is mostly achieved through the narratives pacing being quite consistent throughout for the film never felt like it was dragging. That said, it can be a little disorientating when the narrative decides its time to bombard information upon Teddy, and the viewer, in an attempt to guide the film to the mystery of Rachael Solando's escape. The film is by no means overly complicated but if you lose track of the information which these certain scenes attempt to convey, the films real twist can appear somewhat disjointed even if it is to an extent predictable.

The narrative is only heightened by a group of actors who do a convincing job of representing their respective characters. The character of Teddy is easily the most important and DiCaprio does a great job of conveying the character's need to find the truth while battling the guilt over the horrors of his own past life. Kingsley provides a wonderful performance as the head psychiatrist on the island who wishes to rehabilitate the mentally ill instead of resorting to measures such as lobotomy. He has a restrained and calm manner which exudes his character's intellectual capability. Ruffalo provides good support to DiCaprio, as he assumes the role of the concerned and eager to help partner. The entire supporting cast, involving the likes of Ted Levine and Elias Koteas, to name a few, all perform at their best to assure that Shutter Island feels highly believable, though it is just a pity that some of them only appear for a few minutes. This does result in Teddy being the only character with any real emotional appeal outside the intellectual nature of the film.

The filming style by Martin Scorsese is an absolute wonder, especially the final scene, as he utilises varying techniques in order to construct the web of events into something meaningful but abstract. Some techniques could appear unusable in modern films but they nevertheless work to enhance the film. Another good addition to the cinematography is how a few stylised camera sequences are used on single occasions allowing the film to constantly remain fresh. The computer imagery which accompanies the work is of a generally high standard with some beautifully rendered scenes enhanced by the Gothic atmosphere. Still, the computer imagery is not entirely top tier material with some scenes lacking the polish of others.

There is no sex in the film though nudity does make an appearance in one scene of a couple of seconds showing some male genitalia. Violence is largely in the form of Teddy's memories which involve soldiers being gunned down and blood appearing in large pools, both for realistic deaths and for artistic reasons. Dead bodies are shown throughout, some with bloody results, and involve adults and children. Language is contained mostly to F-words and blasphemy. Neither overpower the film and are sporadically placed through the plus 2 hour run time, yet the blasphemy can come across as slightly more excessive then required.

Shutter Island culminates into a fascinating outlook on how truth can be both liberating and destructive. This is achieved through a combination of a tight and absorbing narrative; superb acting performances; and a film style that enhances the Gothic atmosphere required for the thematic depth to be appreciated. The film does lose some footing with the odd narrative hiccup; some slight graphical issues; and a lack of emotional pull from the general characters for some part of the film. Nevertheless, Shutter Island is an intelligently taut thriller which allows its viewers to ultimately invest in its characters and story while providing ample entertainment.

9/10

Screen date: 12 March 2010

Release date: 12 March 2010

District 9

A fascinating delight ...

After over 20 years of keeping a mysterious alien race, referred to as Prawns, in check in an area known as District 9 in Johannesburg, South Africa, Wikus Van De Merwe (Sharlto Copley) is given the job of relocating the aliens away from the city so as to ensure that they pose no threat to the citizens of Johannesburg. But during a raid on one of the alien's shack, Wikus comes into contact with a substance that causes him to become the number one person of interest throughout the world.

District 9 is a remake of sorts of a short film from 2005 known as Alive in Joburg, and is filmed in two manners; the traditional film-making process and a documentary approach. The latter is mostly used for the first arc of the films narrative. It combines interviews and news reports, with documentary segments relating to Wikus and the relocation work he will be doing with the aliens. This film perspective is masterfully controlled by Neill Blomkamp and the integration of, and eventual change to, a more formalized camera work seems effortless and natural. This also provides the narrative with some added depth: instead of a linear exposition of Wikus and his reassessment of the whole situation, the audience is provided with history prior to the events taking place, even recalling vital information as to why the aliens are informally referred to as 'Prawns'. However the greatest strength of the narrative is how it parallels Apartheid. While the events in District 9 could relate to events such as the Holocaust, it is quite obvious that Apartheid is the core starting point of interest. This even goes as far as replicating the xenophobia which is strife within South Africa. For instance, replacing the African majority being subjugated against, are the technologically superior aliens. And even though the film is science-fiction, great strides have been taken to make the material as real as possible. These include the poor living conditions; an almost picture perfect representation of shacks through South Africa; and even finer details such as the African SWAT member calling Wikus by the term 'boss'. These are not just randomized stereotypes, but rather real life occurrences of South African living. This combined with the well structured story results in an entertaining and engaging narrative. However there are some points of interest which seem to get very little attention and any audience without an understanding of Apartheid might be feel something is amiss. For instance, the aliens who are clearly superior to humans seem to show little resistance to the poor conditions they are forced to live with. This may appear as a plot-hole, but essentially is only mimics how the White apartheid government were able to exert control over every other racial group, even when they were outnumbered nearly ten-to-one by the African population.

Continuing the believability of the South African context is the actors department, most notably Sharlto Copley who uses an incredibly authentic Afrikaans accent. Wikus is clearly a second language English speaker and Sharlto replicates this well, combining his characters need to speak English with instances of resorting to Afrikaans when swearing. Sharlto is only a first time actor in District 9, which is incredible to note considering how believable his acting is. Wikus goes from being a jerk to desperately fearful for his own life because of how the odds change against him. Regardless of how Wikus develops, Sharlto conveys his character with great realism. The remaining cast are all essentially secondary, and while they perform good jobs of keeping the level of acting high, they do at times falter a bit, but thankfully very rarely.

There is no nudity and sexual activities are only talked about and on a rare basis. Language is strong and consistent with a variety of expletives being used with the F-word uttered at least around 70 - 90 times. Most of these are spoken by Wikus and in Afrikaans, but considering how the F-word sounds similar in both Afrikaans and English, it is not difficult to know what is being said. The language is contextually fit though there is the odd scene where it does feel a bit too much or unnecessary. The intensity of violence matches that of the language with some fairly graphic scenes. Granted many of the deaths happen at a very quick pace but people are essentially vaporized into bloody matter or hacked apart, and this does not even account for the many instance of gunfights and psychosocial cruelty which takes place. Unlike the language at times, the violence is very fitting for contextual purposes in order to emphasis the brutality that existed during Apartheid and even in current day South Africa. South Africa is a violent country, and Neill Blomkamp does not shy away from this.

Both cinematography and the CGI are stunning. Neill Blomkamp is slightly experimental at times, such as filming from just above the barrel of a gun. He never does so frequently, but they surprisingly work. Another factor which is nicely executed are the action sequences which are viewable enough for the action to appreciated, but also slightly frantic to heighten the atmosphere. Accompanying this is some stellar CGI which blends into reality very well: the alien mother ship is the best example as it appears so natural while hovering over Johannesburg.

District 9 is being heralded as one of the best science fiction films to ever be showcased and its not difficult to understand why: it has a mature and exciting narrative, even if unclear at times, which brings about enough material to further the created universe in many directions. With a brilliant example of acting by Sharlto Copley, fascinating cinematography from Neill Blomkamp, high quality CGI, and engaging violence, District 9 is one of the most exciting films of recent years with only a few hitches. And as for this year, it easily relegates other recent blockbusters to the levels of mediocrity they deserve.

9/10

Screen date: 28 August 2009
Release date: 28 August 2009

The Boy in the Striped Pyjamas

A subtle performance with a landmark crescendo...

During World War 2 Bruno (Asa Butterfield), a German of eight years, leads a somewhat sheltered life in the comforts of wealth in Berlin. When Bruno's father (David Thewlis) is promoted to a high ranking officer of the Nazi regime, Bruno and his family have to relocate to his father's new post, which happens to be nearby to a concentration camp. After many frustrating days of boredom Bruno journeys to the concentration camp, thinking it is a farm, and starts up a friendship with Shmuel (Jack Scanlon), a Jewish boy.

From the very start the story is displayed in a very linear and uncomplicated fashion. There is no extravagant storytelling, no attempts to make the story more than it is. However this is not to say that the film is devoid of depth, because it has plenty and can stir up many symbolic and thematic explanations which help enrich the viewing. But the simple process of the story is more the director's attempt in keeping with the innocence of Bruno to help relate the viewer to him. The reason this is perhaps done is because while the film is relatively faithful to the original novel, many details have been altered. One such is the literary device of a process of discovery from the reader into the true context of the story just as Bruno begins to learn more of the real world. As such the film adaptation will inevitably make it more difficult for the viewer to relate to Bruno because we become the out-group to his innocence. The simple storytelling works though it could have been more complex, including many details that were omitted. But the film's crowning moment comes in its final 15 or so minutes in what is a harrowing, emotionally poignant affair, and perhaps one the most draining, yet overwhelmingly crafted endings ever to grace cinema. It alone is worth the admission of seeing this film. Authenticity also becomes a slight problem once again in regards to how the concentration camps would have actually worked, but this is never the point as the film bases itself merely on thematic elements.

The level of acting is not astounding by any means. But it is generally favourable. Each actor and actress seems to aptly suit their respective character, but Butterfield must be commended for doing a great job of making the innocence of his character appear so real. It must be said that none of the characters speak in a German accent though they are portraying Germans. While this seems like a setback, it really is not much of an issue as it does not make the experience any less riveting as it already is, but for those truly adamant on authenticity they might be a little disappointed.

There is no sex, nudity or language. Violence is more figurative then literal as the film's subject matter pertains around a concentration camp. The final scene is haunting though not visually shown. While the PG-13 rating is apt, it is difficult to think that any child at that age could truly comprehend the film's content.

The Boy in the Striped Pyjamas is a cinematic wonder which easily deserves a watch from any avid moviegoer. While there are a few niggles, none of which truly affects the overall quality unless you allow it to do so, the film is laden with reasonable acting and story-telling at it's very best with director Mark Herman cementing this with a conclusion so filled with brilliance that it is difficult to think of anything of late that quite matches it. In fact there are few films of late which can even match the cinematic wonder that is The Boy in the Striped Pyjamas.

9/10

Screen date: 20 November 2008
Release date: 05 December 2008

Available on Channel24

The Dark Knight

A challenge to its beginnings which falls short on greatness...

Following the events of Batman Begins, Gotham City is undergoing a crime reformation under the enthusiastic optimism of Harvey Dent (Aaron Eckhart), the new district attorney who is more easily recognizable as a public figure for good, then Batman (Christian Bale). But as events seem to be going right for Dent, Batman and James Gorden (Gary Oldman), they are caught off guard when an essential and psychopathic killer known as the Joker (Heath Ledger) decides to wreck havoc upon Gotham.

Nolan's vision of Batman has been one which moves away from the expected superhero environment, to a context which bases itself in reality as far as possible. With The Dark Knight, Nolan goes one step further and creates a gritty crime thriller with little emphasis on the fantasy associated with comic books. In fact, this becomes one of the few problems with the film, though one which could be easily overlooked. Whereas Batman Begins attempted to keep some supernatural elements within its context, as referenced by the League of Shadows, The Dark Knight does not have any mystical nature to it, but relies on the grittiness of a contrived world. But beyond this, the story is a huge success, creating a well formed synthesis between the superhero and crime thriller genres. There's enough plot, enough characters, and enough twists to keep you guessing, and with an engaging flow, the film doesn't feel its 152 minute runtime. But this runtime is perhaps not long enough: the biggest flaw with Nolan's attempt to tell so much story is that a plot development occurs later on in the film that really never feels complete, and almost tacked on. This plot does add to the thematic approach of the film, which is one of the films greatest achievements. No longer is the viewer asked to embrace the clichéd notion of power and responsibility and instead focuses itself on ethical propositions. Moral dilemma face every character, bar the Joker, and each is forced to make decisions that go against what they believe in. It is this depth to the characters which really makes for a compelling social case study. However, as much as every scene seems to fit so nicely into the film's flow, that isn't to say that the film itself surpasses Batman Begins. Batman Begins proved to be a better balance at telling a story, whereas The Dark Knight did not. In fact, the biggest concern with The Dark Knight, is that the film ultimately feels without enough direction by the time the credits role. There is no main objective to the film, just a series of events which lead to an intriguing, though abrupt end.

The level of acting ability is astonishing, equaling Batman Begins. It is very rare to see such a film receive such a great cast and each actor is used to almost full effect. Bale reprises his role as the conflicted Bruce Wayne/ Batman and does so with greater ease then before. However Bale never seems to get Batman's gruff voice entirely correct. Whereas in Begins Bale was a naturalness to the voice, it sounds as if he is forcing it in The Dark Knight. He sounds better in the latter half of the film, but regardless its a minor problem at best. Another minor problem is the complete lack of Dr. Crane/ Scarecrow. Being a interestingly developed character in the original, he is now limited to around 2 minutes in the beginning arc. It's disappointing to see a character with so much potential be marginalized as so. Another character who doesn't have his potential realized is Harvey Dent. He undergoes a great transformation, and his emotional struggle is well executed, but by the films end, this well built character suffers from underexposure or just a lack of runtime. An interesting role comes in th form of Maggie Gyllenhaal as Rachel. Maggie replaced Katie Holmes, who I believe wasn't all that bad but merely overshadowed by a wonderful cast. Maggie sadly doesn't fare any better: it's clear everyone else is more in their element then she is. And of course there is Ledger as the infamous Joker. Much has been said about his performance and how it is Oscar worthy. I'll say that I agree that his acting is incredible, with some intriguing nuances. Unlike the rest of the cast, Ledger is very much a lively actor expressing himself through body movements. But while I loved his role, Ledger lacks the maturity to really excel himself to the likes of Daniel Day-Lewis in There Will Be blood, for example. Nonetheless, not getting a lead an Oscar nod would be very much a slap in the face to an actor who was clearly beginning to peak.

Besides some minor suggestive material, and exceedingly low use of language, the film does indeed sport an array of violence. This incorporates lots of hand-to-hand combat, firearm usage, some upsetting off-screen moments, and one rather violent scene involving a pencil. Its blood free but still nonetheless deliver quite an impact.

Regardless of whether you you believe Spiderman, Batman Begins or the recent Iron Man to be the benchmark of superhero movies, there is no denying that The Dark Knight excels in the genre. It is an excellent example of good directing, acting and story advancement, but what makes The Dark Knight a superb superhero movie is not that it is able to recreate its comic book form so aptly, but that it makes a great cinematic piece. Whether you are a fan of superhero films or not, The Dark Knight deserves attention not only for building upon the success of Batman Begins, but for shattering the preconceptions of superheros in cinema. Does The Dark Knight surpass its former incarnation? For better or worse, both are on equal terms.

9/10

Screen date: 26 July 2008
Release date: 26 July 2008

The Assassination of Jesse James by the Coward Robert Ford

Melancholic beauty…

Hollywood has the idea to glamorize and exaggerate virtually every historical figure without acknowledging that the respective person’s true self. This creates a flawed notion of the time period, yet there are times where a biopic is created with truthful richness and this so happens to be one of those times.

As the title explains, The Assassination of Jesse James by the Coward Robert Ford is pretty much that and, of course, the events that led up to the act. Jesse (Brad Pitt) decides that he will attempt one last robbery and call his career quits after that. Yet after the feat paranoia crawls into Jesse as he begins to debate whether members of his last outing might in fact take the large bounty that plagues him. Over time he becomes interested in Robert Ford (Casey Affleck), a nineteen year old who has idolized Jesse since his childhood but discovers that the outlaw hero is not what he appears.

From the very opening scene the film captures you in its Western setting, and the authenticity of the period of the outlaw Jesse James is virtually realistic, albeit a few historical inaccuracies. Though if you aren’t well versed in the history of Jesse James you won’t have much to worry about, as these inaccuracies are relatively minor and doesn’t impact on the overall feel of the characters, and story. The film is slow and almost action-less. For the most part this suitably helps the films haunting veneer. But beyond the realism and atmosphere, the film has an excellent way of never defining a definite hero or villain. Yes, it is obvious how certain characters are to be finally viewed, but Jesse is not the heroic outlaw he is perceived to be. He is mocking and willingly to kill needlessly. As well, Ford is not just the coward he is made out to be. He’s a fragile character who has good intentions but his youthfulness does not allow him to see further then his actions.

Once again Brad Pitt proves a wonder to watch, with his portrayal of Jesse James being one of his best. You can feel the cold, calculated nuances of Pitt’s acting and the love and compassion his character is capable of. His acting his realistic and he is supported wonderfully by the rest of the cast, especially Casey Affleck, who on par with Pitt. Affleck has never struck me as being that great an actor, but his performance was nothing less than amazing. He exudes a creepy nervousness that is just waiting to burst into something more.

There is, as well, an accompanying narrator. Who this person is remains a mystery, but who he is, is never ever the point. The narrator (Hugh Ross) like all narrators, serves as the story’s guide, pointing out information of extreme importance, In fact, while the film is long, it could have been longer were it not for the narrator. He brings about certain bits of information throughout the film which adds depth to various characters, without these particulars having to be shown. One such time explains how Frank James (Sam Shepard) felt after the death of his brother Jesse, but we never see the character post-Jesse’s death. It appears like a quick scheme to get more story development without showing more, but its execution is practically flawless.

The music department is pretty thin: the majority of the film plays without music whatsoever, and when music is used, it’s done so as a transition point from one main story arc to the nest. Best yet, it doesn't feel out of place and only goes to enhance the somber atmosphere of the film itself.

If there is anything stopping this film from reaching greatness, it would be pacing issues. The film is just a little too long for its own good. While its final length cannot be cut by much, as every scene portrayed is of utmost importance, some scenes do linger on a few seconds too long. Much of the additional runtime comes from the director’s attempt at adding abstract, yet serene, images of the environment, and just being too art-like. I say too art-like because these great shots which the viewer are shown, while sometimes dazzling to gaze upon, feel forced and constricted. This is partly in due to the great number of times the director, Andrew Dominik, tries these shots, and also because every time this is performed, the main focus is always in the middle. While this is particularly the function of having an images centerpiece in the middle for emphasis, it just happens far too often and the art-like nature of the film loses its appeal. It ultimately becomes less interesting then it ought to be. Still the director does indeed have some real highpoints, especially the beginning of the day of Jesse James death, where we are greeted with a splash of nervousness and a sense of lost control in regards to Ford. Even towards the end of the film the director experiments a bit more and with great results, adding much depth with symbolism. The little scenes that are up to this quality show the amazing ability the director has, but its shame he falls into a mediocre pattern with his many other scenes.

No sex and no nudity although there is a scene involving one man walking on a woman who is using the bathroom. Language use is kept to a minimum and violence, while infrequent, is violent and realistic.

While Robert Ford’s bullet was effective in hitting its intended target, The Assassination of Jesse James by the Coward Robert Ford, sadly, misses by a few inches. The story is engaging, if a little inaccurate and a little too much to digest in regards to the films length; the acting is of a sublime quality; the music is well placed and fits the films overall mood nicely, and the cinematography is absolutely breathtaking in its simplicity, but becomes overused. If you can survive till the films conclusion, and honestly if you cannot then it is a real shame, you will have watched one of the best films to grace 2007. The name of Jesse James still lives on, but now in a far more grand state.

9/10

Screen Date: 20th December 2007
Release Date: 14th December 2007