Film Review - Toy Story 3

The third instalment in the Toy Story series is as poignant and meaningful an animated film as you’re likely to see. Let’s hope it’s the last, as it rounds off nicely what has been a fascinating journey for all ages.

Andy is going off to college and so the toys, already out of use for the past few years, now face their destiny in the attic, with only Woody (Tom Hanks) getting to accompany Andy to the next stage of his life. But as luck would have it, they get mistakenly packed in a box with other toys to get donated to a nearby Day Care Centre - the optimistically named ‘Sunnyside’. And optimistic is how most of the toys feel on their arrival at the centre, until they discover the true evil nature of the maligned bear Lots-o (voiced by Ned Beatty), the ringleader of a gang of evil toys that includes the very metrosexual - and quite funny – Ken (Michael Keaton).

In the eleven years since the previous Toy Story movie, animation technology has of course advanced considerably and this is obvious right from the beginning of the new film. I chose to see it in 3D, which didn’t really add anything to the quality of the action. However, from the opening sequence right through to the harrowing incinerator scene, we are exposed to animation far more sophisticated than in any previous Toy Story film. But this improvement is not at its most noticeable when it comes to explosions and intense action. When the characters need to show real human emotion and when the script is at its most tender is when the animation really shows its pedigree. And director Lee Unkrich has not been afraid to let the story shine through the visual effects.

The story, I think, has a much deeper implication than just a group of toys feeling let down after being thrown away by their owner. John Lasseter, creator and executive producer of the trilogy, was interviewed after Toy Story 2 came out and explained that Jessie’s song about her previous owner was actually an ode to how his daughter had gotten older and had eventually outgrown him - that she was too old to play with him now. It seems to me that this idea has further been explored in the third part of the series with the Day Care Centre perhaps representing a real life Old People’s Home. After all, this film is written by adults, and in this case I think mostly for adults.

Another reason why I believe this instalment was aimed more at adults is because it just isn’t as funny as the previous two films, in my opinion. It is of course very funny, but just not as silly. Characters like Ken and the delight that is Spanish Buzz provide huge laughs but the film is darker in general there are some characters that turned out to be very evil, far more so than say Andy’s neighbour Sid from the first Toy Story. But what it acutely lacked in humour it more than made up for in sensitivity and maturity. The aforementioned incinerator scene is some of the most heart-rending cinema I have ever been exposed to, and the fact that I can be made to feel that way by the eyes of a cartoon cowboy is again credit to the incredible animation.

All in all, I believe this film is a truly conclusive finale to the Toy Story series, with even more memorable characters to add to the already comprehensive roster. Perhaps one could say it takes advantage once again of the same plot basis of the other films – the search and rescue idea – but if it ain’t broke, don’t fix it and all that. It has action, it has humour, it has drama. Most importantly, it is thought-provoking. Just try not to get any tears on your 3D glasses.

Aaron Devine

Film Review - A Prophet

Like staring down the barrel of a loaded gun. Through Jacques Audiard’s trembling camera lens, the dread and fearful anticipation embedded in Tahar Rahim’s eyes is obvious and we begin to comprehend that this is what facing six years in jail must feel like. Rahim plays Malik El Djebena, an illiterate French Arab handed a six-year prison sentence for assaulting a police officer. At 19 years old, perhaps he isn’t yet ready for the rough and ready world ‘inside’.

On his first venture into the prison yard it is clear how vulnerable the Muslim teenager is going to be after immediately getting into a scuffle. This is noticed by dangerous Corsican gang leader César Luciani (Niels Arestrup) who, apprehensive of the growing Muslim population within the prison, wants to stamp his authority (‘Before we ruled the yard...soon they’ll bring out the rugs’). As such, he makes Malik a daunting yet interesting proposition – to kill Reyeb, a gay Muslim prisoner in exchange for protection from his gang. It seems, however, that Malik has no choice in the matter as Luciani’s words echo in his ears: ‘If you don’t kill him, I kill you’. As he tries to escape his predicament by alerting the prison warden, it becomes clear to Malik how far and high Luciani’s influence goes.

After he clumsily and brutally disposes of Reyeb, Malik is haunted by his ghost, in his dreams and in reality, but he turns out to be some kind of guardian angel, making him aware of events that are happening in the near future - most notably through a bizarre car crash scene that at that point in the film is intriguingly unrelated to the film’s storyline. Having said that, this idea I feel is not explored enough in my opinion, which is a pity as it to some extent nullifies the significance of the title of the film and Malik’s role as ‘a prophet’.

One of the main themes in this film is the changing relationship between Malik and Luciani and this story is expertly told by director Jacques Audiard. He has proven himself to be a real powerhouse of French cinema after the critical success of his last film ‘The Beat That My Heart Skipped’ and has been described (quite insultingly I think) as the French Guy Ritchie. Special mention must also be given to the editor of the film; Juliette Welfling, who has weaved this film together making it watchable with four or five different languages going on at once in some cases.

As well as observing the relationship between the central characters change, we see Malik himself grow drastically. At the beginning of the film, he is a mere gopher for the rest of the gang, collecting the papers, making the coffee. But, due to a change in the political climate in Corsica, most of the gang are released, leaving Luciani alone with Malik as his right hand man. As the film progresses, Malik learns to read and write and takes on more and more responsibility while developing his skills as a criminal.

What is outstanding about this film is that it is not your typical slick gangster movie. It is graphic and brutal. It is dimly lit and aesthetically dull, reflecting the monotony and tediousness of prison life. But its authenticity makes it a truly rewarding piece of work. For example, Malik is not an effortless killer. He makes a meal of some tasks he is given – including his first one – as you would expect from a novice gangster. So as brilliantly acted and exciting as this film is, it is above all truthful. Speaking of the acting, however, the central pairing of Arestrup and Rahim provides us with two arresting performances. Relative newcomer Rahim is equally convincing first as a naïve and hapless teenager as well as towards the end of the film when he grows into a cold, calculating criminal. His performance is topped only by the onscreen display by Niels Arestrup. His character’s gradual demise is manifested flawlessly as he loses his grip and his mind. The sense of betrayal he surely feels is portrayed sublimely in the final scene which makes for a mesmerising climax to what is a captivating film. Remarkable.

Aaron Devine

Tip for the week:

Check out 'Dead Man's Shoes'. Directed by Shane Meadows and starring Paddy Considine. Dark, moving and thought-provoking. Think Ken Loach meets Guy Ritchie. Excellent stuff.

Film Review – Harry Brown

Michael Caine goes back to his roots in this quite authentic but somewhat one-sided film about life on the inner-city streets of London.

The film opens with a scene involving a gang of youths taking part in some kind of initiation ceremony with drugs and guns and immediately we are exposed to the violent and dark subculture of the urban council estate. This opening sequence is filmed in a documentary style and violence is instantly unleashed as the film gets off to a rapid and hard-hitting start.

Michael Caine’s serene introductory scene slows things down somewhat, providing a welcome contrast to the anarchy of before. As he wakes up, he takes a blast from his inhaler and we see a collection of prescription drugs arranged on the bedside table. This perhaps highlights an aspect of the generation gap the whole film goes on to underline: that nowadays, drugs for young people have a completely different use.

From the off, Michael Caine portrays Harry with profound sadness. An ex-Marine, his life over the past few years seems to have been full of pain and tragedy. We learn that his daughter has passed a while ago and the eventual death of his wife early on in the film renders him quite a lonely man. His only friend Len brings up a subject that Harry seems reluctant to talk about - his past military life. “Did you ever kill anyone?” enquires Len. Harry’s swift and somewhat affronted response of “You can’t ask me that, Len” suggests there is a darker side of him that we are yet to learn about.

All the previous heartache that Harry has had to wade through is then compounded, when the police arrive at Harry’s door with the devastating news that Len has been found in a pedestrian tunnel, beaten to death. The investigating officer is played by Emily Mortimer with great subtlety and her character provides a compassionate and sensitive edge to what is otherwise a film of harsh brutality.

Harry knows that it is the street gangs that are to blame as throughout the film he witnesses their despicably violent acts and the unrest they caused Len in the lead up to his murder. His lonely existence gives him a lot of time to think and he decides to take matters into his own hands as the police seem to be powerless to stop the ongoing crime. He tracks down some drug dealers so he can purchase a gun. Once led into their lair, we are exposed to the harshness of the life of a junkie, a situation which is demonstrated with harrowing authenticity (not that I’d know). The set is grimy, dark and industrial and the performances all-too-convincing. However, Harry sees these people as the enemy as well, the ones whose drugs are fuelling the violence. He tells a story to the drug boss about his past in the Royal Marines that he has never before mentioned before putting a bullet in him, and with that story as well as his new-found violent edge, one is led to believe that Harry is now maybe exorcising some demons from his past that he has kept locked inside of him for many years.

Harry continues on a vigilante rampage against those who were involved with the murder of Len, and has managed to maintain his shooting accuracy after all those years.

In the meantime, the police investigation into Len’s murder continues but to no avail. Several members of the young gangs are interviewed, including the apparent leader, Noel Winters, who is chillingly played by a very convincing Ben Drew (notable also as singer Plan B). Emily Mortimer’s Detective Inspector Frampton is worrying about those who have been murdered in the wake of Len’s death and thinks it is Mr Brown that has carried out some of the recent killings. To her dismay, like in every season of 24, there is that old cliché of the superior officer who ‘just won’t listen’, so her suspicions are dismissed.

The film becomes increasingly violent as it goes along, although I must admit it never becomes gratuitous. It has to be said that director Daniel Barber has done an excellent job in making the whole situation as realistic as possible, having even employed many members of street gangs as supporting artists.

With a small yet interesting twist towards the end, this is a film that moves along at perfect pace. Not seeming overlong or drawn out, it comes to an end which concentrates on displaying the police force in a negative light. This is a theme carried on for quite a bit of the film and does eventually become slightly self-serving. Having said that, the central performance of Sir Michael Caine is beautifully nuanced and his work on this film could stand up there amongst some of his best. He portrays a complicated, hurt old man with the expert ease we have come to expect, and is totally believable as a menacing killer in the second act of the film. Moreover, he is complimented by the likes of Liam Cunningham who plays his local pub landlord and Joseph Gilgun, who provides a hauntingly memorable performance as junkie drug boss Kenny.

On the other hand, one thing which did irritate me about this film was the constant portrayal of young people as violent criminals and thugs. Although the point of the film is to convey that there is a huge problem with drugs and guns on our streets, there seemed to be no balance. It provided no hope, and for many young people out there, including myself, this is an issue, as we aren’t all pistol-wielding hoodlums. Emily Mortimer’s character surely does represent some positive aspects of society today, but I felt that wasn’t enough. Even though the message of this film is one that those involved (Michael Caine included) clearly care an awful lot about, the film is still unfortunately rendered slightly one-sided and gives the audience a somewhat skewed view of young people today.

Aaron Devine

Film Review – Shutter Island

Scorsese fans look away now. Even with some great central performances, his latest collaboration with Leonardo DiCaprio fails to match up to his films of old. And it’s as predictable as England’s World Cup performance.

Set in 1954, DiCaprio is Teddy Daniels, a U.S. Marshall sent to Shutter Island, a remote hospital for the criminally insane where a dangerous patient has gone missing. He travels there with his new partner, Chuck (Mark Ruffalo), and maybe it’s that sea air, but something smells fishy.

This could be one for Alfred Hitchcock fans, with some dramatic techniques synonymous with the legendary director being employed by Scorsese to create suspense throughout the film. With banging doors, thunderstorms and ominous noises, it is almost Shakespearean as well as Hitchcockian. In fact, the weather plays a huge part in this film; as part of the story, but also as a gauge for the tone of the film.

The suspense builds as the film progresses and this is maintained in part by the performance of Sir Ben Kingsley as Dr. John Cawley. His very mysterious and intriguing turn as the head psychiatrist is what keeps us guessing as to the true circumstances on the island. Also adding to the mystery are the strange and disturbing dreams that Teddy has about his wife Dolores, played by Michelle Williams.

However, the main issue with this film is the fact that the inevitable twist becomes all too foreseeable, from far too early on. Having said that, the several plot issues with this film are of course directly related to the somewhat poor source material - the film is based on the 2003 novel of the same name by Dennis Lehane and the whole storyline struck me as confused and was full of gaping holes. By the climax, it becomes slightly nonsensical.

On the other hand, it’s not unreasonable to say that this is possibly DiCaprio’s best performance since he first teamed up with Scorsese in Gangs of New York. I always found him to be unconvincing in the tough guy roles like that in The Departed, but this character strikes the correct balance between sensitivity and brooding masculinity, in my opinion. He plays the role with a sense of inner torment and with a certain moodiness, the reasons for which are revealed to us as the film progresses. Ruffalo is solid in the supporting role and as mentioned, Kingsley does add some juice to the film which, without him, would be pretty dull and even more predictable. That being said, it does keep you watching and the two hours plus running time sails by comfortably.

So Raging Bull or Casino it ain’t, but you’ll want to watch until the end, even if you have already figured out what is going to happen.

Aaron Devine