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1917 (2019)
One story in millions
I sat down in the cinema expecting a strong war film, perhaps aligned with the likes of Dunkirk - captivating but limited by its lack of character study. As the credits rolled, tears certainly did too, and I felt a true affinity with this piece of such artfully crafted cinema, widely stunning, yet intimately removed from being another Hollywood blockbuster.
The premise of this epic is relatively simple: two young soldiers are sent on a mission to warn another regiment - where one of their brothers is stationed - of an impending attack. They must reach the regiment by dawn.
What follows is not only visually remarkable with the superb cinematography of Roger Deakins, but a compelling journey that the audience is able to follow closely, owing to the film's 'one shot' style. The relatively unknown leads, Dean-Charles Chapman as Blake and George Mackay as Schofield, are similarly superb, embodying the 'everyman' nature of those who served. With the use of star British actors, such as Benedict Cumberbatch and Andrew Scott, in the roles of higher officers, Mendes also comments on the social divides that were present during WW1. However, the true worth of this film shines particularly through the nuanced development of Schofield, not only through Mackay's determined performance, but through what he is made to endure - an example of storytelling being pushed to attain emotional, physical, and mental heights.
1917 is certainly a journey, if anything for its constant movement where no settings are repeated, and it is ultimately marked not by a fantastic display of heroism, but rather the quiet and shockingly harsh endurance of those who fought in the Great War. 1917 could have been the story of any soldier. It is one story amongst millions, and a beautifully forceful one.
The Capture (2019)
Kept on the edge of my seat...but not convinced
'The Capture' draws you in with its intriguing premise of government conspiracy, that CCTV footage can be manipulated to re-enact the truth where other evidence is inadmissible. Set in modern day London - where being watched, recorded, and documented is the norm - The Capture plays on the paranoias of our society in order to present the arguably very real fears that come with incessant technological advancement.
It is indeed this premise that held my attention for the 6-hour run of the show, and combined with a strong cast, kept me on the edge of my seat to find out whether Shaun Emery (Callum Turner) would have justice served for him.
However, the series has some undeniable faults. Although the initial episodes are well-written and plotted, as more intricacies and twists are introduced (of which there are plenty), credibility becomes stretched increasingly thin. The finale, which initially appears to redeem itself following the two previous episodes, ends up falling flat and feeling unsatisfied; it is too drawn out and loses momentum. The main characters, though predictable, serve their purpose well, although the introduction of new characters along the later episodes (slick American lady/Rachel's half sister) feel under-written and their function is somewhat questioned.
Ultimately, although The Capture is incredibly relevant, fresh, and initially promising, after ending the season, something is still left to be desired. Perhaps the creators - innovative as they are - have tried to do too much with this concept, which by the finale has grown to global proportions; maybe this season would have been as successful as other major thrillers (Line of Duty/Bodyguard) with a more personal, grounded approach. Nevertheless, The Capture is undeniably a 'good watch', albeit a slightly messy, drawn out one.
De battre mon coeur s'est arrêté (2005)
I really wanted to like it...
Perhaps I'm being harsh with this rating, but this film's biggest downfall is what it could have been.
Romain Duris stars as Thomas, a thug torn between the crook-life of his father and the classical piano playing of his late mother. Duris suits the role and gives an adequate performance. However, where Audiard could have really brought out the conflict within Thomas' character, he instead became presented as neither-here-nor-there, an ultimately unsatisfying character to watch (awakwardly) develop.
The film lags in the beginning, giving the audience chunks of pretty pointless dialogue and failing to grab attention. The relationship Thomas develops with Aline feels too sudden and superficial, as does his sudden passion for the piano following 10 years of not touching it. By the end, the audience feels cheated - what could have been a delicately balanced story of passion vs. duty becomes too drawn out and simply unrealistic.
This is a shame, because the premise really could have worked. At times, the characters do shine and the cast is definitely solid. Unfortunately, for all the moments of genuinely good cinematography and shows of Audiard's directing skills - for which he does seem capable of having - the film is overshadowed by a disjointed plot and unbelievable character developments.
As an Eilean (1993)
Quiet and Beautiful
This film won't be for everyone, it is very slow and exactly what you might expect the going-ons in a remote Scottish village to be.
Nevertheless, there is something unique and incredibly thoughtful in this film, and the dynamics between characters are demonstrated elegantly in practically every shot, which is what held my attention above the plot lines themselves. Within the plot, there are several character threads which provide an interesting premise.
Overall, I have been moved by this quiet film that I stumbled upon by chance, and believe it deserves more praise than the meagre recognition it seems to have received - at least online.
The acting is solid, and this was the first Gaelic film I have watched, though I don't think it will be the last.