SUPERNOVA Review

Harry Macqueen's Supernova opens with a demonstration of what the title refers to: a star exploding thus allowing its molecules and all the other fantastical, unknown elements it's made up of to fall from the heavens. Some of this dust is destined to make its way to the earth where one day it will help to make-up the organisms that populate the planet. An exploding star, a burning love...we're lucky if we experience either in our lifetime. The film fades from this demonstration to the serene, static shot of two men in bed together, their hands intertwined and their love apparent. A crossfade to an overcast sky where pillowy white clouds still manage to somehow pop through pans down and lands on an older model RV where the two men we first met a moment ago are now on a road trip together. Despite the quick-wit and sarcasm of one Tusker (Stanley Tucci) and the frustration of the other, Colin Firth's Sam, it's already been established this is not a tale of two aging, grumpy fellows on an adventure to sow their wild oats, but rather it is a tale of two lovers hoping to find some peace and solace in what is likely the last moments of their being together. We are first made aware of the reasons for this holiday when Sam stops at a grocery store on the side of the road only to return to find Tusker has disappeared. While Sam locates his partner shortly thereafter it is clear to both men that Tusker's early onset dementia is getting worse at a pace neither was likely prepared for. How could anyone ever be prepared for as much? No matter the amount of time given to process the pain it would never seem to cease. The film though, is a brisk and very tidy ninety minutes and that is all Macqueen requires to paint his sweeping yet pulverizing love story. It's almost astonishing really, how invested we become in both Tusker and Sam despite the brief running time and further, how many moments are absolutely a punch to the gut whether it be in the way Firth's voice cracks when he gets emotional or through as simple a gesture as one helping the other button his shirt. Anchored by these two effortlessly affectionate and grounded performances from Tucci and Firth (but especially Tucci, my God!), Supernova is a film about coming to terms with reality no matter how inequitable it may seem and the honest conversations that are eventually unearthed around it. A true portrait of companionship, a meditation on legacy, and the impact it all has on the lives of those most important to us.   

1917 Review

At the risk of spoiling a truly grisly moment in writer/director Sam Mendes' latest film, there is an instance not fifteen minutes into the film when our protagonist, Lance Corporal Schofield (George MacKay), injures his hand on a barbed wire fence. It is not this injury that is cause for the gruesome winces 1917 is sure to induce though, but rather that moment comes a minute or so later when Schofield's mission partner, Lance Corporal Blake (Dean-Charles Chapman), knocks into him as the two hurriedly slide into a trench so as to not be spotted by enemy planes overhead. It is in this moment that occurs shortly after the film has set the stage for our expectations of what we might expect war to really feel like that it then shows us the reality of those expectations in turn aiding the audience in realizing that no amount of preparation or precedent could ever prepare one for the true nightmares that are the unspeakable things one human can subject another human to. It is in this quick, but effective moment that remained with me for the duration of the film's nearly two-hour runtime that emphasizes the power of the film in general over the would-be gimmick of the single-take experience in that not only does Mendes' and cinematographer Roger Deakins' technique provide an enticing challenge for seasoned filmmakers such as themselves, but it is in the challenge of balancing that technique with the ability to tap into something real, something raw and something that speaks to who these two men were in their souls that keeps the audience engaged. Successful or not, the technique of it all will largely go unnoticed by general moviegoers and in turn only make the immersion greater even if that general moviegoer isn't aware of what's creating said effect. Mendes and Deakins have proven time and time again they have the skill to pull off exactly what 1917 does, but for them to ultimately have the artistry to pair that craft with the character's drive to simply do the right thing in accomplishing their mission, a mission that will save hundreds of lives, while being surrounded by the ugliness of humanity on that mission is what makes the immersive quality of the single shot idea worth the trouble; the technique elevating the film to something unexpected not in that it is a dazzling technical achievement, but an emotionally involving experience with real stakes and a clear perspective.

MARY POPPINS RETURNS Review

My wife and I took our four-year-old daughter to see this despite her having seemingly no interest in the trailers or TV spots that have been on heavy rotation-especially over the past week or so. Admittedly, this was partly for the reason both of us wanted to see this fifty-four-year-later sequel to Mary Poppins and didn't want to have to go through the hassle of finding a babysitter the weekend before Christmas, but it was mostly due to the fact that despite the lack of interest in the promotional materials that sometimes you just have to trust your parents know better than you and, lucky for us, our little four-year-old girl decided to indulge us on this particular matter (the slush and popcorn might have factored in, but I digress). The point being, that once director Rob Marshall's (Chicago, Into the Woods) Mary Poppins Returns began and Emily Blunt's incarnation of the practically perfect nanny showed up and began teaching the new generation of Banks children (as well as reminding their parents) that while imagination may not always be approved of, that it's more than necessary to make life fun and largely bearable, the little one was more than hooked by the magic of the titular character. And so, while Mary Poppins Returns is admittedly more of a re-hash or re-imagining of that first, 1964 film than I would have either thought or hoped it to be it is also a reminder of how powerful and delightful the imagination can truly be. Though my personal experience with the film may not be as heartening as those who take their teenagers to the theater and see their faces revert to a state of child-like wonder; to experience the kind of magic and possibilities Mary Poppins brings to the table and exerts with pure enthusiasm strike our daughter in such a clear and distinct way-especially during the numerous musical numbers-was quite something. The Julie Andrews picture was always one of those movies that was always on whenever we needed it to be growing up and taking on the burden of crafting a follow-up to that respected classic (the only live-action film Disney saw garner a Best Picture nod in his day) there was a degree of respect built-in for even attempting as much and while Mary Poppins Returns could have certainly done a little more to stand on its own it is so excessively charming, appropriately cute, and full of original songs and creative executions that it's hard to argue the film is anything but perfectly pleasant in every way.

Official Trailer for MARY POPPINS RETURNS Starring Emily Blunt

Disney has released the full trailer for their sequel to Mary Poppins, a film made in 1964, that Disney has already touched with their current trend of re-makes and re-imaginings with 2013's Saving Mr. Banks which followed P.L. Travers reluctantly meeting with Walt Disney who wanted to adapt her books based around the titular character for the big screen. While Saving Mr. Banks was more in line with this summer's Christopher Robin it seems as if Mary Poppins Returns will be more in line with the live action re-makes of Disney's animated classics, but labeled as a sequel to one of their early, more enduring live-action movies. Of course, as can be glimpsed in this trailer, Mary Poppins Returns looks to essentially be a re-hash of what that original offered, but dammit if this thing doesn't look infinitely charming and all-around wonderful. Emily Blunt takes over the reigns from Julie Andrews (who I have to imagine will show up in some capacity) as the enigmatic nanny returns to Depression-era London where a now-grown Jane (Emily Mortimer) and Michael Banks (Ben Whishaw), along with Michael's three children, are in the midst of dealing with a personal loss. It is through Mary Poppins' unique magical skills, and the aid of her friend Jack (Lin Manuel Miranda), that she once again will help the Banks family rediscover the joy and wonder missing in their lives and no doubt teach them a few lessons along the way. So yeah, this will more or less follow the same structure of that original film, but given Travers had a series of books concerning the character one might hope screenwriter Dave Magee (Life of Pi, Finding Neverland) pulled from such a resource to add in new elements that went unused in the original. And while the trailer certainly paints a delightful experience of a movie that will make all the money this holiday season the one gray area that clouds the project is director Rob Marhall. Marshall, who seems to be something of Disney's go-to-guy as of late broke onto the scene in a big way with 2002's feature film version of Chicago and followed it up with the critically acclaimed Memoirs of a Geisha in 2005 has had a rough run as of late turned in the worst Pirates of the Caribbean movie, what is maybe the worst Daniel Day-Lewis movie, and then the somewhat successful Into the Woods four years ago. I'm hoping His latest is more Chicago, less Woods, but time will tell. Mary Poppins Returns also stars Meryl Streep, Colin Firth, Angela Lansbury, Julie Walters, David Warner, Dick Van Dyke, and opens on Christmas Day.

KINGSMAN: THE GOLDEN CIRCLE Review

There is a difficulty to pinning down what exactly it is about Matthew Vaughn's work that makes it stand out if not necessarily resonate, but to date it has been difficult to not at least enjoy, on a surface-level, every single film the director has released including the oft forgotten 2007 Neil Gaiman adaptation, Stardust, that is a genuinely great, very funny, and wickedly entertaining fantasy film told by someone who knows how to manage tone. Maybe this is it. Maybe it is the way in which Vaughn is able to deliver on a particular tone above everything else that makes his personality shine through so much more than other for-hire action directors tend to be able to do. It would be easy enough for studios to craft generic comic book adaptations, X-Men sequels, and James Bond spoofs-everyone is making some variation on one of those today-but to bring a unique perspective and distinct personality to such common proceedings is a gift and there is no denying Vaughn has that gift whether you appreciate where he's coming from or not. It is a tough thing, straddling what is to ultimately be an intangible aspect of one's final film, but Vaughn has always done well to imprint his films point of view throughout the film-thus making for the literal actions of the characters in the climactic scenes to feel all the more successful as they have not only accomplished the proper resolution the plot desired, but have simultaneously satisfied their moral compasses. Having listed many of Vaughn's previous projects it isn't difficult to note the guy has had ample opportunity to make sequels, but that he hasn't and that he did decide to take on the follow-up to his surprise 2014 hit says a lot about how much he is invested in this world and in this material. What then would Vaughn do in his first sequel? What is the direction he would choose to go? Those were the thoughts and questions stewing in my brain as the Kingsman logo on the front of the Kingsman tailor shop is revealed once more in the opening moments of Vaughn's latest, but while Kingsman: The Golden Circle is a bigger sequel and dares to explore the extended universe that exists around this independent agency we were introduced to three years ago it isn't nearly as cheeky or outrageous as we've come to expect the Kingsman or for that matter, Vaughn himself, to be. And so, while the film is serviceable and generally a good time it doesn't touch the bonkers and bawdy tone of the original despite being bigger in every sense a sequel can be.

SDCC: Green & Red-Band Trailers for KINGSMAN: THE GOLDEN CIRCLE

The second trailer for Kingsman: The Golden Circle is the first major release from 2017's edition of San Diego Comic-Con. This is the follow-up to the wildly successful Kingsman: The Secret Service from 2014 with director Matthew Vaughn returning for what will be his first sequel despite two other films he's directed having spawned follow-ups. So, what is it about the world of the Kingsman that made Vaughn want to return? It seems to be the fact there is so much more to explore here whereas Vaughn knew that what he had to say about the Kick-Ass and X-Men universes was more or less complete in his respective films. With Kingsman, which, like Kick-Ass, is based on a Mark Millar graphic novel, the filmmaker seemingly only scratched the surface of the world in which this secret service organization exists and the sequel is certainly expanding that world. Bringing in a host of big name newcomers. The Golden Circle sees the Kingsman's headquarters being destroyed and the world coming under siege forcing Taron Edgerton's Eggsy on a journey that leads him to the discovery of an allied spy organization in the US called the Statesman. This new trailer certainly shines more light on the Statesman giving Channing Tatum and Pedro Pascal a lot more to do this time around as well as getting a little more of Julianne Moore's villain who she's described as “Martha Stewart On Crack” . The trailer is also pretty relaxed about showing us Colin Firth's Harry Hart is alive and kicking, but I'm hoping there's more to this story that is divulged in the final cut. Vaughn and his crew have really seemed to up the ante by genuinely expanding the scope of the universe in which these characters exist so I'm hoping that given the director has finally decided to make a sequel that this turns out to be well worth the time and creativity invested. Kingsman: The Golden Circle also stars Halle Berry, Jeff Bridges, Sophie Cookson, Mark Strong, Michael Gambon, and opens on September 29th, 2017.

Full Trailer for KINGSMAN: THE GOLDEN CIRCLE

Last week we received a brief, 16-second teaser for Kingsman: The Golden Circle. This is the follow-up to the wildly successful Kingsman: The Secret Service from 2014 with director Matthew Vaughn returning for what will be his first sequel despite two other films he's directed having spawned follow-ups. So, what is it about the world of the Kingsman that made Vaughn want to return? It seems to be the fact there is so much more to explore here whereas Vaughn knew that what he had to say about Kick-Ass and the X-Men universe was more or less complete in his films. With Kingsman, which, like Kick-Ass, is based on a Mark Millar graphic novel, the filmmaker seemingly only scratched the surface of the world in which this secret service organization exists and the sequel is certainly expanding that world. Bringing in a host of big name newcomers The Golden Circle sees the Kingsman's headquarters being destroyed and the world coming under siege forcing Taron Edgerton's Eggsy and the the rest of the gang on a journey that leads them to the discovery of an allied spy organization in the US. These two elite secret organizations must band together to defeat a common enemy. While an added layer to an already familiar operation is always an exciting facet in a sequel it would appear that, from this trailer, Vaughn and his crew have really upped the ante in this second film by not simply adding more characters, but by genuinely expanding the scope of the universe in which these kinds of individuals can exist with not all of them falling under the same category of being slick-suited super-spies. Rather, we get a fair amount of footage of Channing Tatum sporting Americana to the brim while essentially being the U.S.'s answer to Britain's Eggsy. I was a big fan of the original and am a big fan of Vaughn's work in general so I'm hoping that given he's finally decided to make a sequel that this turns out to be well worth the time and creativity invested. Kingsman: The Golden Circle also stars Pedro Pascal, Halle Berry, Jeff Bridges, Julianne Moore, Sophie Cookson, Mark Strong, Michael Gambon, Colin Firth, and opens on September 29th, 2017.

KINGSMAN: THE SECRET SERVICE Review

I don't know much about the early James Bond films. My parents weren't much for movies and much of my watching of older films has come from my own doing through my high school years with a large chunk of help from film classes in college. Still, neither of these have included going back and catching up on the twenty or so Bond films I'd missed since the beginning of the series. Instead, Daniel Craig became my Bond of choice after only seeing Die Another Day followed by Casino Royale. For the record, one day I will purchase the complete Bond collection and make my through each of them, but until that day I will continue to enjoy its current incarnation for what it is. All this to say that though I may not understand the specifics of the kind of movie Matthew Vaughn is attempting to riff from there have been plenty of other movies in the vein of Bond for me to understand the overall reach Vaughn has envisioned and to know that he grasps it all pretty damn well. With his fifth feature film director Vaughn has created an exhilarating and hugely entertaining take on the spy movie franchise by keeping the structure and all the players intact and messing with the conventions of what each of these expectations play into. In all honesty, there isn't anything necessarily original or unique about what Vaughn and frequent collaborator/screenwriter Jane Goldman have produced here, but more than anything it is refreshing in its perspective and creative in its execution. These count for a lot in our current cinematic landscape and Vaughn knows precisely how to tap into making something old feel like something new and exciting. He did the same with Stardust eight years ago (yeah, that was eight years ago) taking a typical-seeming fantasy film and churning out a completely fulfilling adventure. The same can be said for Kingsman though, on many levels, it is even more fun in a raucous sense given one has a similar mentality to that of the characters and the guy who's brought them to the screen.

MAGIC IN THE MOONLIGHT Review

This marks the fourth year in a row that I have seen the annual Woody Allen feature in theaters and it would be a lie to say I'm not growing fond of the tradition. Of course, there is no telling how much longer this tradition might continue as the prolific writer/director is nearing seventy-nine and I can only imagine will continue to remain as consistent for so much longer. Allen continues to defy expectations though as he continues to both craft interesting enough stories for relevant actors to embody and piece them together in rapid fashion. It is hard to even pinpoint at what stage of life Allen first put the idea we're currently watching on screen to paper, but I can only imagine he has a drawer full of premises that he pulls from every year and crafts a screenplay around yet all the while is jotting down more ideas to add to the drawer. It will be interesting to see what he leaves us with as the next few features are likely to be some of his final ones, but if there is anything particularly telling about his latest it is that the guy isn't scared of getting old. Magic in the Moonlight may be able to pull off seeming like a romantic comedy for intellectuals and even as the film slogs to its inevitable conclusion it seems Allen would have liked to convince himself of this as well, but really the film is simply another exercise for Allen, the writer, to voice his complaints about mortality, the mystical side of life and belief in a higher power. He does this with both vigorous and insightful dialogue that is conveyed through what is at least an inventive situation. It also doesn't hurt he has placed the film in what we perceive as a more innocent period of time (1928) to soften the blow of his logical observations and make them feel more farcical than forceful. I am one who doesn't mind the arrogant, slightly egotistical nature of Allen especially when it has been imbued upon as charming an actor as Colin Firth and there truly is, as is typically the case, some finely-crafted dialogue here that cuts to the heart of the conflict our central character feels, but as a film in and of itself Magic in the Moonlight feels more minor than the significance of its ideas.

First Trailer for Woody Allen's MAGIC IN THE MOONLIGHT

It is at this time the of year, every year that we begin to see the promotional material for the annual Woody Allen film appear and 2014 looks to be no different as we've finally received a first look at the trailer for Allen's effort this year. I have enjoyed more of Allen's work than not over the past few years and with the talent he has rounded up for this one I can't see it going anywhere but in the column of those more appreciated than the black sheeps of his filmography, but there is always the chance it could simply exist and leave nothing of an impression on the directors ever-expanding catalogue. Set in the 1920's against the backdrop of France and it's wealthy jazz-age socialites it tells the story of an Englishman, played by Colin Firth who seems to be in a countless number of movies these days, who travels to assist a wealthy family in unmasking the spirit medium that has tricked them into believing her. This mystic of sorts turns out to be none other than Emma Stone who, as the plot thickens, is so charming and likable that he is either falling under another of her spells she is fraudulently perpetuating or she actually is the real deal. Firth's charming yet older Englishman is cautious to buy into such uncertainties that seem to challenge his common sense. The trailer hints at a possible love story near the end, but I hope that with Firth being fifty-four and Stone turning twenty-six later this year they hold off on what could be perceived as rather creepy and simply keep this to a light-hearted comedy that explores the psychology of faith and beliefs as Midnight in Paris did with our perception of time and nostalgia. Magic in the Moonlight also stars Eileen Atkins, Marcia Gay Harden, Hamish Linklater, Simon McBurney, Jacki Weaver and opens in limited release July 25.

DEVIL'S KNOT Review

There has been so much made of the trial that Devil's Knot dramatizes that the film itself almost seems irrelevant at this point. If you've seen any of the three Paradise Lost documentaries or for a more complete look at the eighteen years after what happens in Devil's Knot, last years excellent documentary West of Memphis, than you already know everything there is to know about this trial with ample amounts of theories and extraneous evidence to boot, but while West of Memphis encapsulated this entire ordeal from beginning to present when it turned from a trial about the murder of three little boys to a witch hunt for three other boys and the eventual plight to free them from the prison cells that constantly reminded them of the actions they were wrongfully accused of, Devil's Knot is simply looking to see what made everything go so wrong from the inception of this incident and more importantly, give a voice to the often forgotten victims and their families. The film is very open to interpretation in terms of what avenue you prefer to travel when it comes to this well-publicized case, but it certainly lays inclinations to what the current state of the case would best indicate. With such a sprawling story, a large cast of characters and multiple perspectives from which you could approach this it always seemed the choice to go with a documentary as far as chronicling the events of this case was the most efficient thing to do, but with Mara Leveritt's 2002 crime book of the same name proving an interesting and well-read piece of source material it was unavoidable that at some point a narrative feature might be attempted that pulled from the well that has seemed to officially run dry. The interesting question here is whether or not the film might be more highly looked upon were there not so many other films surrounding this same set of events because this film, on the most basic of principles, is still engaging due to the horrible circumstances under which these murders happened and the horribly botched job that the police did with the investigation that, when paired with the fine, but admittedly passive performance of actors at the caliber of Colin Firth and Reese Witherspoon, you are bound to find a few things making it worth a look.

THE RAILWAY MAN Review

The Railway Man is a weight of a film. It is heavy with burden, heavy with guilt, heavy in theme and deeply entrenched in a story so stricken with all of these attributes that the resulting cinematic take on it could not help but to swim around in these deep, dark emotions. It is a disturbing tale, but it is one that is more of a straightforward nature than any film I've seen recently that exists outside the big-budget wheelhouse. We typically see these smaller films as opportunities for filmmakers to say something more than what you might find on a classroom poster or more than an excuse to simply make a bunch of noise and draw obvious conclusions from years of archetypes and cliches that still entertain the masses, but are not enough for people as immersed in film as the makers themselves or the strong army of cinephiles that populate the internet. Sometimes though, a story is strong enough on its own bearings that there is no need to come up with a fresh way to convey it or imply larger themes or ideas beyond that of the basic story and Jonathan Teplitzky's The Railway Man is one of those films. Not that the way in which Teplitzky has chosen to tell the story isn't effective in enhancing the already engaging story, but anyone who could provide solid-enough direction while armed with this narrative and these actors could have likely pulled off a win, it only helps that Teplitzky and his screenwriters, Frank Cottrell Boyce (Millions) and Andy Paterson who adapted Eric Lomax's autobiography, were able to get out of their own way and let the story speak for itself. I sometimes find it difficult to describe what makes a film of this straightforward yet compelling nature exactly that, but in doing so I've found I try to over-analyze and do the same thing I'm happy the filmmakers didn't do. That being said, The Railway Man is an engaging story featuring world-class actors and a high-brow look that keeps us entranced by its beauty, torn by its brutality and unwavering due to its strong resolution that you can't argue with because it's true, but is still somehow able to cover if not heal the scar tissue left behind by years of hate and a yearning for retribution that is tucked away by the harsh reality of how the world works.

TINKER TAILOR SOLDIER SPY Review

It is due to the ensemble cast and the whole spirit that has surrounded this film since first hearing of it that I have been anxiously awaiting its arrival at my local cinema. This weekend it finally expanded across the country and I was able to catch a glimpse of a film I might have included in my top 10 of 2011. Though I find a kind of solace in the fact this would have landed outside the top 10 for me I still liked the film very much. What it is about "Tinker Tailor Soldier Spy" that makes it an engaging drama though is not the usual reasons you might be inclined to enjoy a film. In fact I don't know that the word "enjoy" is even the right way to describe what you would be expected to feel after watching the film. The film is engaging and tells a complex story that never directly addresses a central conflict as a traditional film might. The reasons that make it such an intriguing trip though are that of the way the characters handle themselves and how the layers of each of their contributions to the story are told. Director Tomas Alfredson (Let the Right One In) weaves in and out of each characters role in the quest for discovering a double agent. It is such an intelligent and prestigious feeling film that it almost feels odd how dark and cold the film actually is. It is a film very much of a time I cannot relate to. I was engaged by the chance to become acquainted with it for a few hours though and "Tinker Tailor Soldier Spy" turns out to be a film with aspirations that don't rise above being an authentic spy thriller. It is the style with which it is told and the caliber of the performances that raise the bar. We don't see any explosions, and are made to hold our breath with every solitary gunshot; this isn't your typical genre film, but one that feels closer to life than we could have ever hoped for.

 Peter Guillam (Benedict Cumberbatch) and George Smiley
(Gary Oldman) converse on what steps are to be taken next.

I have never read the John le Carré novel on which this is based nor have I seen the 1979 British mini-series that starred Alec Guinness. I was going into this new production with very little knowledge about the plot of the film outside of what I'd seen in the trailer and read about in summaries. From what I gathered it seemed like the novel itself was likely too complex to condense into a two hour film as the mini series ran for nearly five. It not only made me curious about the book but as to how this film might play out. Would it feel rushed? Might it be a tight plot with loose narrative? As the lengthy opening credit sequence began to roll though I could see that Alfredson was not going to allow this to be a rushed experience to get to the meat of the plot. He allows for the cold, gray atmosphere of the mid-70's to influence the story just as much as the actions being taken. He rolls it out at such a pace that the audience receives just as much a sense of paranoia as his characters are feeling.

John Hurt plays Control the head of the British Secret Service known only as "the Circus" who is forced out after a failed mission in Hungary where one of his top agents, Jim Prideaux (Mark Strong) is shot. In light of Control resigning, so does his right hand man George Smiley (Gary Oldman) while Percy (a slick Toby Jones) assumes the role after years of disrespect and animosity between he and Control. Percy brings with him to the head his favorite agents in the forms of Bill Haydon (Colin Firth), Roy Bland (Ciaran Hinds), and Toby Esterhase (David Dencik). This all leads to Smiley being asked to find the mole at the top of the agency and because Percy and all of his co-horts are suspects Smiley has to go about this in a rather stealthy manner. He hires Peter Guillam (Benedict Cumberbatch) who is also an operative for the agency in a division that is assigned their dirty work to assist him. This is only the tip of the iceberg as far as the plot goes but their is such a restrained, weathered feeling to it that it never feels overwhelming or lost on us as an audience.

Bill Haydon (Colin Firth) is as much a mystery to the
audience as he is to his friends.

The film, while deeply concerned with the work and how important it is to the difference in the free world and evil, also serves as a broad portrait of how this all boils down to men creating drama and distrust so as to give them reason to exist. To give their jobs a purpose. It gives a message that we are all the same, our good and bad deeds, it is simply the side you choose (or in this case love for your country) that determines your ideology with which you carry out your actions. This element of the film that causes you to take a step back from the more focused story it is actually telling lends that unsettling feeling you have as it comes to a close. That feeling that sends chills down your arm while at the same time realizing what a well crafted movie it is. That is what Alfredson did best with the material, to have conveyed that atmosphere through which these spies worked and existed. The way in which they have to operate away from their families which have no connection, no relevance to the work they are performing. This is best conveyed in the commanding yet also restrained lead performance of Oldman as Smiley. He is our source of light in the film and though his demeanor suggests a man who is beaten down by life and years on the job, he performs his duties with a strong and very real presence. There is a sense of obligation to his mentor but it is due to the depth that Oldman brings to his performance that suggests Smiley would much rather disappear than to become entangled in further moral compromising matters.

Ricki Tarr (Tom Hardy) follows his instincts on a mission
that leads him to discover more than he bargained for.

It should also be noted that Tom Hardy as Ricki Tarr shows up for a subplot that puts him as one of the service's "scalp hunters" (an equal to what Guillam does) that involves him becoming a kind of rogue agent that while on a mission is able to confirm the existence of the mole in an inadvertent turn. Hardy is an actor who since 2010's "Inception" has become a hot commodity and will be seen three more times in 2012. Hardy makes the most of his limited screen time here as Tarr, a man cast out due to an instinct he followed while on his mission as well as a loss he has suffered. It is a moving piece of work that contrasts Oldman's performance with just the right amount of calibration. It is also interesting in the fact Oldman and Hardy will be seen in "The Dark Knight Rises" and "Wettest County" later this year, their chemistry here lending more good anticipation to two already prestigious products. It is in credit to much of the cast though that they were able to pull off what is no doubt a condensed version of the source material so flawlessly. Last years best actor winner Firth giving a charismatic and debonair performance and the up and coming Cumberbatch who has already garnered good will with his small role in "War Horse" turns in a more flashy yet inconspicuous performance that shows his ability to be subtle while still making an impression. This is clearly Oldman's film though and he certainly deserves the praise he has been receiving as what makes "Tinker Tailor" most interesting is the words these men exchange are just as thrilling as if they were firing bullets at one another.

TINKER TAILOR SOLDIER SPY Review

It is due to the ensemble cast and the whole spirit that has surrounded this film since first hearing of it that I have been anxiously awaiting its arrival at my local cinema. This weekend it finally expanded across the country and I was able to catch a glimpse of a film I might have included in my top 10 of 2011. Though I find a kind of solace in the fact this would have landed outside the top 10 for me I still liked the film very much. What it is about "Tinker Tailor Soldier Spy" that makes it an engaging drama though is not the usual reasons you might be inclined to enjoy a film. In fact I don't know that the word "enjoy" is even the right way to describe what you would be expected to feel after watching the film. The film is engaging and tells a complex story that never directly addresses a central conflict as a traditional film might. The reasons that make it such an intriguing trip though are that of the way the characters handle themselves and how the layers of each of their contributions to the story are told. Director Tomas Alfredson (Let the Right One In) weaves in and out of each characters role in the quest for discovering a double agent. It is such an intelligent and prestigious feeling film that it almost feels odd how dark and cold the film actually is. It is a film very much of a time I cannot relate to. I was engaged by the chance to become acquainted with it for a few hours though and "Tinker Tailor Soldier Spy" turns out to be a film with aspirations that don't rise above being an authentic spy thriller. It is the style with which it is told and the caliber of the performances that raise the bar. We don't see any explosions, and are made to hold our breath with every solitary gunshot; this isn't your typical genre film, but one that feels closer to life than we could have ever hoped for.