BIGLENS
THE KENT FILM MAGAZINE | VOLUME 8, ISSUE 3 | Spring 2012
AWARDS ISSUE
BETTER THAN THE BAFTAS, MORE OSTENTATIOUS THAN THE OSCARS & MORE RUTHLESS THAN THE RAZZIES
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EDITORIAL
Awards Season in all its glitter, glamour and hyped up glory has come and gone again, and in honour of all the long standing prestigious awards offered by the Golden Globes and the Oscars etcetera, BigLens decided that we could do a much better job and so held our very own, extremely democratic award nominations and election. I’m sure that if Ryan Gosling knew that he’d been awarded our Best Actor award it would make his year (but too bad he hasn’t). The internet has gone weak at the knees as a result of Angelina’s right leg, Sacha Baron Cohen graced the red carpet in his costume for The Dictator, and Billy Crystal was abused via Twitter for his #inappropriateblackface sketch – there you have The Oscars. Stephen Fry hosted The BAFTAs and erm yeah, nothing that exciting really happened. At the Golden Globes Ricky Gervais did such a good job of offending Hollywood’s Glitterati last year that they invited him back for 2012, not sure he was offensive enough to make it three years in a row but we will just have to wait and see. How did we rock the BigLens awards night? We sat around and chatted about films for a long time. We are just that cool. So, what do you think to our nominations and winners? I don’t doubt that there will be a great amount of discord and maybe a few tears. But hey, film awards are notoriously controversial, because you just can’t please everyone and a lot of films and people that should be recognised, aren’t and unfortunately, if you’re Michael Fassbender, you’re shot at winning an Oscar is just yet another thing which your penis has ruined.
OLIVIA MARSH
SMALLPRINT Editor: Mike Chapman Editor: Luke Brawley Editor: Olivia Marsh Art Editor: Carys Ramsey If you have a passion for film and would like to contribute to BIGLENS, please email ldb25@kent.ac.uk, mc471@kent.ac.uk, om53@kent.ac.uk or cr404@kent.ac.uk or visit www.kentfilm.net. BIGLENS is produced with the support of Kent Film, a society of the University of Kent Students’ Union. All information is provided in good faith. Articles are not necessarily the opinions of the editors of BIGLENS, of the Kent Film Society or of Kent Union. Everything that is already copyrighted, is theirs. Everything not, is the intellectual property of the individual writer, so no thieving.
Check out the Kent Film Society hub at www.kentfilm.net for society news, BIGLENS movie reviews and all that good stuff. ANGELINA JOLIE | 2012 OSCARS COVER ART: TINKER TAILOR SOLDIER SPY | STUDIO CANAL
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Michel Hazanivicius will forever be known as ‘the director of The Artist’. He has skilfully crafted a love letter addressed to cinema’s silent era, to a blank no colour no sound backdrop; it could be expressed that Hazanavicius is the bravest guy currently occupying Hollywood’s doorstep. However many films the French filmmaker will no doubt make The Artist will prosper due to the way in which he pushes the boundaries of self-reflexivity, whilst flawlessly capturing a beloved time in a benchmark-raising manner that will remain dazzling, heartfelt, and truly charming for the remainder of his (with any luck) lengthy career.
by Jacob Stolworthy Lynne Ramsay has cojones – big cojones. As a little league director making a film like We Need to Talk About Kevin is a risky move, but Ramsay’s subtlety and sheer skill have created a masterpiece of messed up movie magic. Every miniscule detail is crafted to create a clear picture of Kevin and his relationship with his mother Eva (Swinton), but the image has been smashed and distorted as Ramsay tantalises us with indistinct siren filled flashbacks and a warning red theme that permeates the film - from Kevin’s red ball to the paint daubing Eva’s house. This film is an exercise in style and psychosis.
by Carys Ramsey Terrence Malick (one of the greatest living American directors) has a vision that is something truly unique and aesthetically sublime. His ability to tell emotionally stirring stories in grand and humbling landscapes is truly exceptional. Never was this talent more apparent than in The Tree of Life. In it he created a relatable meditation upon childhood with perhaps Brad Pitt’s greatest performance in years even though his screen time was relatively brief. Within this is a study of life itself that few other directors would have been able to pull off. But Malick can, due to his keen eye for detail and his poetic approach to visuals.
by Mike Chapman Woody Allen once quipped: “If my films don't show a profit, I know I'm doing something right”. Midnight in Paris is his most financially successful film to date, but that shouldn’t leave him disheartened – it’s also one of his finest. Darius Khondji’s dreamy cinematography heightens the magic of a midnight stroll through 1920s Paris, and Allen draws a performance from Owen Wilson that channels the classic "Woody" persona with subtlety and charm. This is a carefully crafted masterpiece - well-paced, sweetly sentimental and steadily chuckle-inducing. A love letter to the city of love. 4
by Benedict Williams
CALLING THE SHOTS: BEST DIRECTOR
Nicolas Winding Refn Samuel Ayling Denmark’s Nicolas Winding Refn takes our award for best director for his latest film Drive, which is nothing short of a contemporary masterpiece in a world where the vast majority of action films are exceedingly derivative. Refn may have been ignored by the Academy Awards, and Drive snubbed for a best picture nomination, but we at BIGLENS are dishing out some well deserved recognition. With a title such as Drive it is easy to see why many people were expecting a Fast & Furious clone, filled to the brim with mind-numbingly dull car chases and an emotionless plot. But Refn has made Drive so much more. The films focus is not on the cars themselves, but on the drama surrounding the man who drives them (side note Refn has failed his driving test eight times and still doesn’t have a driving licence). The film, like his past endeavours, has the distinctive Refn pacing when it comes to subjecting the audience to violence. Refn believes there is a crossover between violence and sex, (which he recently got in trouble for describing on the BBC Breakfast News) in the sense that both are about the build-up. Much like in Bronson (his 2008 fictionalized biographic crime film about Charles Bronson) there are explosive moments of intense, climactic brutality after periods of prolonged stillness. The same comparison can be made with Refn’s Valhalla Rising, which mixes a peaceful choice of setting with stylised bloodshed. Furthermore, like all his other movies Drive was filmed chronologically, which Refn believes makes shooting a movie more of a discovery process. As for the future Refn will be reuniting with Ryan Gosling, the star of Drive; the pair are currently working on a new project entitled Only God Forgives, and with such a title we will undoubtedly be treated to some more of that exuberant violence that Refn is becoming well known for. If Drive is an indicator of what collaboration between the two talents can produce then we are almost certainly in for a real treat. Moreover, a remake of Logan’s Run is in the works, which will also be featuring Gosling, though Refn has made it clear that his version will be a complete reimagining rather than a remake. It would appear that Refn and Gosling are compatible not only onscreen, but off as well, and this could well be the beginning of a long list of films featuring the duo, similar to the numerous joint projects of Burton and Depp, Kurosawa and Mifune, or Ford and Wayne. One thing for sure is that with Refn’s stylish cinematography he will continue to make Gosling look even better on screen than he already is, and successfully making the rest of us ordinary chaps look worse in comparison.
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STELLAR STARLETS by Luke Brawley She’s the star of Peep Show and Hot Fuzz, but don’t be fooled; Olivia Colman in her stunning performance as Hannah in Tyrannosaur, blows away any preconceptions you may have about her acting abilities. Starring as the lonely wife to an abusive husband and a shattered charity shop worker she delivers one of the most realistic and gut-wrenchingly moving performances of the year. Whilst relating to the main protagonist as a kindred spirit, she steals the screen and we feel complete emotional attachment to her character instead. She has proved that she can make us weep with laughter and sorrow, and is clearly destined for greater things. TYRANNOSAUR | FILM 4
by Ian Claydon Emma Stone. She made us believe that nerds can get the girl in Superbad, aroused us with her literary and 80’s movie references in Easy A, and with the revelation that she would be playing Gwen Stacy in the upcoming Spider-Man reboot - made us climax. But between these was a film called The Help, wherein she has combined her acid tongue and sharp wit with a serious acting ability, alluded to in the gem of a film Paper Man, and now come to fruition in this mature performance staking her claim as one of the most exciting young actresses around. THE HELP | DREAMWORKS
by Nat Mitchell
It is so rare to see a film where its characters’ unexplained faults are so openly placed in front of us, which still feels believable. Carey Mulligan flawlessly and sensitively pulls it off as Sissy Sullivan, the erratic bi-polar sister to Brandon (Michael Fassbender) in Shame. Her sudden appearance seems to hold up as a mirror image to the damaged psyche of her brother, with her insistent and desperate neediness helping to highlight the depravity of Brandon’s character. SHAME | FILM 4
Taking on the role of Marilyn Monroe was never going to be an easy task and Michelle Williams was perhaps a surprising choice for some. Marilyn Monroe is at once a sex icon combined with a vulnerability which made her an enigmatic star which My Week with Marilyn seeks to convey. Williams captures the look of the curvaceous blonde embodiment of glamour and performs superbly as she plays out the story of Marilyn Monroe’s private life, exploring the dichotomy between the public and the private face of one of the most famous women in the world. MY WEEK WITH MARILYN | WEINSTEIN COMPANY
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WE NEED TO TALK ABOUT KEVIN | BBC FILMS
by Olivia Marsh
WE NEED TO TALK ABOUT SWINTON
by Jess Bashford & Charlie Croissant
Tilda Swinton’s performance in We need to talk about Kevin is bold leap from her previous roles. She stands out for playing the domineering cult leader in The Beach, the androgynous and intimidating Gabriel in Constantine, and the ruthless Snow Queen in The Chronicles of Narnia. But here she is far more vulnerable, her performance in this harrowing story shows her acting at its best. We first see Swinton as a fun-loving free spirit in La Tomatina Tomato Fight. In spite of the chaos around her, we see her at peace within herself and ecstatic with her partner (John C. Reilly). Swinton introduces her character, Eva, with an unfaltering smile and doe-eyes, obvious signs of her love for life. She develops dramatic changes in this character as the film unfolds, through a subtle style that is most impressive. Swinton has the difficult task of portraying a mother who struggles to love her child. It’s painful to see how hard she tries to be a good mother, whilst evoking sympathy because it’s evidently not the life she wanted. Swinton’s struggle with this internal conflict is prominent when she tries to smile at her baby, this shouldn’t be a trial for a mother, but through Swinton’s subtlety we see a flicker of a grimace. We should dislike Eva for not loving her own child, b u t surprisingly we feel sorry for her. Swinton plays this character without making her unlikeable and selfish, a feat that should be commended. As an audience we sympathise with her desperation to bond with her growing son. A scene that epitomises this desperation is when Eva tries to get Kevin to roll a ball back to her. We see her try to mask this desperation and frustration, yet with Swinton’s skill it bleeds through. Kevin picks up on her vulnerability and just once rolls the ball back. Swinton shows genuine joy in Eva, that echoes back to her joy at the Tomato Fight. It is at this point that we feel totally sorry for her, and realise Kevin is the problem. Their relationship develops to one of fear and control, fear from a mother of her own son. After Kevin’s imprisonment, Swinton shows us a tormented woman. A harmless Halloween night becomes a terrifying ordeal for Eva, as she relives her experiences. Swinton makes her look like a deer in headlights, truly terrified, a shell of a woman. Kevin has complete control, and Swinton skilfully shows the point where this is undeniable: in the car scene after Kevin’s injury, despite her lack of dialogue and her difficulty in speaking, we see her self-loathing and vulnerability seep to the surface. Swinton’s most striking scene comes at the end of the film, when she finds her husband and young daughter massacred by Kevin. She manages to make us feel her inexpressible grief without even crying. She performs this monumental scene flawlessly. Swinton’s performance is brilliantly subtle, yet emotionally provocative and she truly deserves our Best Actress gong. 7
FASSBENDER
Apparently Michael Fassbender never heard that you can be too talented. Shame sees the devilishly magnetic Fassbender reunite with still fairly green behind the ears director Steve McQueen, in what can be described as harrowing magic. Fassbender, as Brandon an unspoken tormented sex addict, strips emotionally and physically bare - letting us gain a little understanding into his enormous confidence. Shame, much like Hunger, gives no resolution, solace or Hollywood gift wrapped comfort; instead we delight in moments of subtle affection between brother and sister before being dropped into a pit of sex addled suicidal despair, a ride on which we are accompanied by Fassbender’s tremendous talent.
CARYS RAMSEY
GOSLING
7 years ago you could be forgiven for calling Ryan Gosling nothing more than a pretty boy actor. Of course, you’d still be wrong. In recent films such as Half Nelson, Blue Valentine and The Ides of March, Gosling has shown he is more than capable of delivering striking, real performances. In Drive, Ryan Gosling again showcased his ability in delivering a strong, yet subtle performance of a solitary man thrown out of his comfort zone. He dominates the frame with stoic expression and elevates the film to a neo-noir classic.
VINNAY LAXMAN
PITT
Moneyball is the compelling story of the strategies taken by ex-baseball player Billy Beane (Brad Pitt) to create the perfect baseball team. Despite previously not favouring Brad Pitt’s acting abilities, I felt he played a strong identifiable character. Pitt is best known for his action/thriller type roles but I feel he deserves recognition for this interesting, deeper side to his acting persona where he shone. The use of flashbacks presented him well, and created the emotional connection to the character. The audience were swung back and forth between past and present in order to realise the deeper background to Pitt’s character.
CLOONEY
STEPHANIE VIVIAN
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Hate him or love him George Clooney, the silver fox, has struck again and few would deny him the accreditation of a stellar performance in The Descendants: a not so feel good family movie about Clooney as father and husband Matt King, left with teenage daughters in the wake of his wife’s boating incident which leaves her on life support. Set in idyllic Hawaii veteran actor Clooney pulls at the heart strings in a not challenging but certainly emotive role.
OLIVIA MARSH
OLDMAN STEALS THE SHOW Over the course of its history the Oscars have proven time and time again to have a vast number of unforgivable blind spots. This year is arguably no exception, with both Drive and Tinker Tailor Soldier Spy failing to get a nomination for Best Picture. In this sea of disappointment and frustration, there is one thing to rejoice. Gary Oldman has finally entered into the gaze of the Academy with one of his greatest performances to date. Set against the backdrop of Cold War espionage, Oldman portrays the recently retired MI6 agent George Smiley, who is unofficially brought out of exile to seek out a Soviet mole placed within the top ranks of the MI6 itself. The film’s heavy emphasis on complex dialogue and subtle relationships between characters offers the perfect showcase for its impeccable British casting, with Oldman supplying its flagship performance. In a world where actors fight to captivate audiences with overblown and eccentric performances, Oldman portrays a completely different beast entirely. Smiley is somewhat unremarkable in his appearance, presenting himself as unassuming and meek in nature. Lying beneath the sea of beige and almost comically over-sized glasses is a calculating, intelligent and manipulative inquisitor, with an extraordinary ability in interrogation. In lesser hands, the subtlety of this character would be lost in the transit from paper to screen, however Oldman portrays the character with an almost perfect understanding and realisation. While a ‘subtle performance’ may be considered by many a way to avoid the term monotony, Oldman utilises subtlety and restraint in a way that expertly conveys information on a subconscious level. Each interaction with other characters may seem quiet and restrained on the surface but underlining it all is an aura of doubt and an almost unnerving intuition, which Oldman handles perfectly with a refined use of expression. The juxtaposition between the unassuming Smiley and the chaotic world in which he inhabits further highlights the genius nature of Oldman’s performance, which I am certain will remain one of the pinnacles of his career. Oldman gives us a master class in acting elegance; quiet, restrained, subtle and overall a display of sheer perfection.
by Joe Buckley
TINKER TAILOR SOLDIER SPY | STUDIO CANAL
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SUBMARINE
To call Richard Ayoade’s Submarine an impressive directorial debut would be an extreme understatement, as the film is far more than just the dabbling of a comedian into the world of film. Submarine is a cynical take on the coming-of-age story, with Welsh teenager Oliver Tate struggling to win the heart of his pyromaniac love interest and to save the facile marriage between his parents, all set to Alex Turner’s brilliantly low-key soundtrack. Funny, heart-warming and slightly twisted at times, Submarine signals the birth of one of Britain’s most hopeful new directors, as well as being a beautifully crafted ode to puberty and social awkwardness.
JOE BUCKLEY
KILL LIST
Ben Wheately’s film about a retired hit man could not be more different from anything you’ve seen before. This is horror at its very, very best. Think Dead Man’s Shoes meets Mike Leigh meets The Wicker Man. Or better still, don’t think at all; leave all expectations behind because it’s what isn’t shown that makes this film work. This is not for the faint hearted. Wheatley manages to turn several genres on its head in a split second of tense, cinematic viewing, with nothing as it seems. It is the best British horror of 2011, one that simply cannot go unseen.
RHIANNON WILLIAMS
BEST OF BRITISH WEEKEND
Billed by many critics as a gay Before Sunrise, Andrew Haigh's second feature far out does this lazy comparison. The plot similarities are there, but Weekend is a more realistic and ultimately more satisfying love story with none of the Linklater film's schmaltz. With its drab, thoroughly unromantic Nottingham setting, the focus is on beautifully subtle cinematography and the two central performances by Chris New and Tom Cullen as protagonists Glen and Russell. The film is an unpretentious, deftly realised study of love, intimacy, fear of being alone, and the difficulty of defining your own identity. Glen eloquently explains: 'I'm trying to redraw myself but people keep fucking hiding my pencils'.
HARRIET CASH 10
TYRANNOSAUR
Paddy Considine’s gritty directorial debut Tyrannosaur roared its way onto our screens this year delivering one of the best British films of 2011. Starring Peter Mullan, Eddie Marsan and the dazzling Olivia Colman, Tyrannosaur is the tale of a brutal but broken man, Joseph (Mullan) trying to cure his foul ways, seeking help in the form of abused charity worker Hannah (Colman). The film is incredibly dark but gives a truly touching insight into what goes on behind closed doors in parts of our society. I didn’t think animal, domestic and self-abuse could be parts of such a beautiful film but Considine has proved me wrong in spectacular fashion.
LUKE BRAWLEY
ATTACK THE BLOCK
by Nat Mitchell
Aliens. Check. Dark eerie corridors. Check. Determined will to survive. Check. Bad breeds on a hype. Huh? Before I watched this film I wasn’t quite sure whether I would believe the hype surrounding it. I thought there was a large possibility that I’d be neutral towards it. That I’d end up spending an hour and a half of my life watching a bunch of pint sized KiDULTHOOD (Menhaj Huda, 2006) stereotypes running around trying to out ‘badman’ each other. To my pleasant surprise Joe Cornish’s first attempt into the world of the sci-fi action film, managed to carry some Spielbergian elements with a twist; removing itself from the standard sleepy towns of middle America, dropping it back down into the heart of a rough South London estate. The film opens on bonfire night, with a gang of kids from ‘the block’ as they carry out a mugging on Sam (Jodie Whittaker), a new resident of ‘the block’, which is sharply interrupted by the destruction of a nearby car via falling meteorite. Cornish instantly grabs at this opportunity to distance this group of socially undesirable characters from the usual fare. Instead of approaching the meteorite out of sheer curiosity, the gang decide to rob the damaged car for what it’s worth. When gang leader Moses (John Boyega) is attacked by the monster accompanying the meteorite, the group then instead of running inside to hide, or even merely trying to figure out what the creature is, run inside the block, tool up and decide to take revenge. So what makes the characters different from the stereotypes that I had initially thought they would be? Well, after an encounter with the terrifying true monsters of this film a rampage ensues to save their beloved block. Along the way we receive insight as to the way these characters are perceived, but also to the motivation of these characters’ behaviour. With such lines from lead member Moses as, “I reckon the FEDs sent them, anyway. Government probably breed those creatures to kill black boys. First they sent drugs to the ends, then they sent guns. Now they sent monsters to get us.” This scene is obviously an attempt on behalf of director and writer Joe Cornish to identify the hostility of the inner-city youth of this film and their interaction with the police force. The idea that if you are expected to be a certain way by authority, you behave in that way as well as holding a certain amount of resentment towards the very figures who have laid down such perceptions. The film is not entirely politically centred, there are plenty of light hearted moments, with lines such as “That’s blacker than my cousin Femi.” to describe the darkness of the creature. Some of my favourite comedic moments came at the hands of the biggest stereotype within the film, Brewis (Luke Treadway), a public school toff and regular to marijuana dealer Ron (Nick Frost). He greets the gang with a “Wasgawin” (what’s going on), only to be met with ridicule that only a posh boy trying to be down with the hood could muster. On the whole Attack the Block is a success; exhibiting an X-Files case in the heart of urban Britain, with aliens that are visible at the same time as being disturbingly unidentifiable and with characters that you have to learn to love, warts and all.
ATTACK THE BLOCK | STUDIO CANAL
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THE SKIN I LIVE IN
| Canal+ España Pedro Almodovar's latest película offered another glimpse into his deliciously bizarre world, focusing on its dark, steely underbelly. Based on Thierry Jonquet's novel ‘Tarantula’, The Skin I Live In is replete with the usual Almodovar tropes – vibrant mise-enscene, melodrama, complex female characters – all of which work well within the thriller genre. Described by Almodovar as 'a horror story without screams or frights', the film stars an electrifying Antonio Banderas as the obsessive plastic surgeon who goes to extreme lengths to avenge the death of his wife and daughter by creating the titular perfect skin, with strange and shocking consequences.
HARRIET CASH
A SEPARATION
After garnering unanimous critical acclaim following its initial film festival exposure, Iranian drama A Separation has stunned pundits and audiences alike with its highly insightful portrayal of the dilapidating relationships and stoic existences which abound in marital culture, and how the restrictions of such circumstances can lead to dire emotional consequences. Director Asghar Farhadi allows the film to heavily focus on issues such as religion and gender within Iran, as well as the effects of divorce on children who find themselves often indirectly involved: these issues expand to have universal significance, as the film is ultimately an observation of relationships and social scenarios that many people endure. Executed in an extremely gripping way, A Separation makes for one of the best cinematic dramas to have been produced in recent years.
MIKE SUTTON
THE SECRET WORLD OF ARRIETTY | STUDIO GHIBLI
Arrietty, the latest instalment from Studio Ghibli, adapts the classic story of The Borrowers. As with all Studio Ghibli films it is fun and has a lot of heart. The tale of young Arrietty and her parents, Pod and Homily, is rejuvenated in this charming animé with a very enchanting feel. Each voice actor is brilliant, with Homily (Olivia Colman) adding an unexpected but crazed humour to it. The animation is beautiful, accompanied with a prettily relaxing and entrancing soundtrack. It’s a shame that such visually and emotionally pleasing films don’t get a look in at the Oscars.
CHARLIE CROISSANT 12
CELL 211
Probably the best thriller of the year, Cell 211 is tense, violent and thought provoking. Following a prison guard who gets trapped inside a prison during a riot, he must do everything he can to survive. What really makes it stand apart is the simplicity of the plot, keeping the action limited to one location. It also challenges preconceptions and by the end it is difficult to know who to root for and exactly who is the hero of the story. Spain has really created some of the greatest genre films of recent years and Cell 211 is certainly one of them.
MIKE CHAPMAN
FOREIGN DELICACIES Here be Trolljegeren
by Lauren Tildsley
The ‘mockumentary’ is an exhausted genre which offers little to the film world. The box office fodder of Cloverfield and Paranormal Activity are largely to blame for this dismal disappointment. Troll Hunter, however, may offer a ray of light in this otherwise bleak genre. Directed by André Øvredal the film is presented through the shaky, hand held camera style favoured in mockumentaries. A group of Norwegian film students set out in search of the mysterious hunter Hans and a series of inexplicable secrets soon unfold. The film’s storyline is innovative, offering Trolls as the horrific antagonists, instead of the derivative werewolves, vampires and foolish phantoms we’re all so tired of believing. While it may be slightly farfetched that there is a TSS (Troll Security Service) secretly keeping the fiends at bay, it does provide a new angle in an otherwise drab and dreary horror world. Many have criticised the film as being poorly contrived or a Norwegian Blair Witch Project. The style is undeniably similar and the premise of students exploring a series of bizarre events also harkens to The Blair Witch Project, but what truly sets it aside is its artful combination of humour and suspense. As all good troll hunters know a troll can smell the blood of a Christian man from miles away. When questioned by the new Muslim camerawoman whether they could detect her, Hans replies “I honestly don’t know”. It is this quirky implication of humour that helps drive the plot without diffusing the tension. The film itself concludes with the typically ambiguous end inherent to mockumentaries, leaving room for speculation and intrigue. This year can boast many strong contenders for the best foreign film, what separates Troll Hunter is its rejection of hard hitting emotional stories that are fundamental to so many of the other films in this category, and its embrace of the mockumentary horror genre. Neither tends to fare well in the eyes of the academy and yet this film is a lion among lambs ready to bare its teeth in attack. The storyline though fantastical is compelling and the audience is in for one hell of a ride. Rarely does a foreign language film achieve such critical success in such wide a market as Troll Hunter has. It even received a British cinema release; a privilege denied many foreign films (excluding their awful English adaption). This is one foreign language film that under no circumstances should have an English adaptation made. Ultimately Troll Hunter is a pivotal piece of this year’s film industry and a triumph in its own right, challenging the audience and pushing the boundaries of plausibility into the beyond. TROLLHUNTER | FILMKAMERATENE 13
TINKER TAILOR SOLDIER SPY The term ‘all-star cast’ has become somewhat meaningless in today’s society, where films like New Year’s Eve rely on nothing but a few names you perhaps may have heard on MTV News. Tinker Tailor Soldier Spy, offers us an impossibly good show of casting, with all the actors being plucked from the cream of the British film industry (Gary Oldman, Colin Firth and John Hurt being a mere portion of the talent.) Tomas Alfredson presents us with a smoke drenched world of espionage, based not on the relationships between states but rather between characters, providing us with a far more human approach to international relations. All in all a true triumph of clandestine drama.
by Joe Buckley DRIVE
Drive is a modern incarnation of the Sergio Leone westerns, or the Akira Kurosawa samurai movies. The movie’s nameless “Driver”, with his untold backstory, is reminiscent of Clint Eastward’s Man With No Name; his actions, therefore, can speak for him… and they usually do. The film oozes cool, from the cursive pink font used for the opening credits to the extremely catchy original soundtrack, and the first shot of that scorpion jacket which we all, undoubtedly, wish we owned.
by Samuel Ayling
THE TREE OF LIFE Malick’s latest effort deserves all the praise it has received. A majestic meditation on childhood, morality and pantheism, The Tree of Life is by far the most beautiful film made this year. Every shot is perfection, and in an age dominated with CGI it is refreshing to see the work of a filmmaker who uses natural lighting and surroundings to such great effect. Whilst not being to everyone’s taste, it is never the less an extremely important piece of work which bridges the gap between the Art Film and Hollywood, placing and A-List cast into something essentially experimental and still succeeding.
by Mike Chapman
THE DESCENDANTS I am not one of George Clooney’s biggest fans, but after watching his latest film I have to concede that he is worthy of the plaudits he has received for it. There are a number of parallels that can be drawn between The Descendants and Alexander Payne’s other films, most notably the Oscar winner Sideways, but his prolific success in building a narrative that combines both humour and tragedy is most prominent. The combination of Clooney’s outstanding performance, some of his on-screen support, and Payne’s mastery at making a film that plays on the audiences emotions makes this film one that is definitely worth a watch.
by Matt Blair 14
THE ARTIST Being constantly bombarded these days by ultraviolence, vast science fiction and epic fantasy, we see the movie business really doesn’t make ‘em like they use to. Classic movie making is on the back-foot to CGI extravaganza’s, 3D blasphemies and Jason Statham; it seems that our generation has lost the will to create that original moviemagic previously seen on cinema screens around the world. But don’t get downhearted! Thankfully due to Michel Hazanavicius, humanity’s talents have been salvaged by his incredible, silent trip down cinematic memory lane with the winner of the BigLens Best Picture award, The Artist. Hazavanicius’ masterpiece, starring Jean Dujardin, alongside Bérénice Bejo and John Goodman, is an example of how inspiring movies can be without new age James Cameronite technology. The Artist is a silent, black and white film set in the late 1920’s and early 30’s, focusing on the Hollywood film star George Valentin who accidently propells Peppy Miller into the spotlight. He struggles to cope with the invention of the talkingpicture and how the advent of this new technology will cause him to fade out of the lime-light. With the brilliant direction of Hazavinicius himself, the film is a master class for acting from the two leads, Dujardn and Bejo. Even without the use of spoken dialogue, they bring the movie to life with their physical performances, which is more that can be said for any other contender for best actor/actress this year. Never have I been so enthralled whilst not hearing someone’s voice since Chief in One Flew Over the Cuckoo’s Nest. Matching the performances on screen, are the talented crew behind the camera. Hazanavicius and cinematographer Guilliaume Schiffman have created beautiful shots and scenes of bustling movie studios and the boulevards of 30’s Hollywood. Recognition has to be given to set decoration by Austin Buchinsky and Robert Gould who basically transport us back in time with wonderfully classic set designs, and final credit has to be awarded to the original score by Ludovic Bource whose music accompanies each scene effortlessly, enhancing the story’s emotional feeling to perfection. The Artist rises above the competition as it is so different to the usual stream of movies we are accustomed to, but at the same time it embraces the simple elements of classic motion pictures. Superhero movies and crime fiction dramas are thrown at us but we want something different to really enjoy it. In a bag of many varieties, one stands out from the rest; The Artist is wonderful. Hazanavicius’ The Artist is the most compelling, stylistic, original and purely entertaining film of the year. It is a revelation in film-making about the revolution in film-making and is a sound (and silent) choice for any true appreciators of cinema.
by Luke Brawley
BIGLENS BEST FILM
THE ARTIST | LA PETITE REINE
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