Film Review: First Man

"You're A Bunch Of Boys Making Models Out Of Balsa Wood! You Don't Have Anything Under Control..."

With a career so far which features two modern masterpieces and a well deserved Academy Award win, Whiplash and La La Land director, Damien Chazelle, returns to cinemas this week with First Man, a biographical drama based on the true story of renowned astronaut, Neil Armstrong, and his involvement within the troublesome quest throughout the 1960's to land on the surface of the Moon. Featuring a screenplay from Spotlight and The Post screenwriter, Josh Singer, the Academy Award winning American uses James R. Hansen's 2005 biographical novel, First Man: The Life of Neil A. Armstrong, as the primary basis for the depiction of events on screen, and whilst Chazelle does indeed focus heavily on the spectacle of space exploration with terrifying precision and accuracy, the real examination within the film is Armstrong himself as played by Ryan Gosling (Blade Runner 2049) who reunites with Chazelle after their successful partnership together on last year's La La Land. With contemplations on the effect of grief and discussions regarding whether particular sacrifices fail to be justified in the discovery of the secrets of the universe, Chazelle's latest is a thoroughly engaging and beautifully constructed work of cinema which although fails ever so slightly to maintain the American's flawless cinematic record, is a bold and brave addition to history's depiction of America's greatest contemporary achievement. 

With Singer's screenplay choosing to primarily focus on the 1960's Armstrong household which acts as the central cornerstone of the narrative throughout the film's run-time, the audience becomes immediately privy to a broken and grief-stricken central relationship between Claire Foy's (Unsane) Janet Shearon, and Gosling's take on an American hero whose silence and introverted nature makes it hard to break the character down, a purposeful decision by Chazelle who utilises the performance of Foy to share the frustration of the audience in the failed attempts to crack the surface of a person tangling with not only the pressures of the grounded life around him but the wider purpose handed to him. Whilst Gosling is renowned for sombre, brooding performances in the likes of Blade Runner 2049 and Drive, Chazelle utilises the stern stare of the Canadian to create an ice-like template of a person attempting to nullify the pain of loss by succeeding at what he knows how to do best, and with the freedom offered to him in the emptiness and vastness of outer space, First Man chooses to view the Moon landings as an excuse for Armstrong to trade the loneliness and harshness of planet Earth for the the loneliness and harshness of the unexplored blackness waiting for him outside the atmosphere containing him on ground level. 

With Chazelle once again utilising the now Academy Award winning skills of his movie-making team from both Whiplash and La La Land, composer Justin Hurwitz continues to impress upon the big screen with yet another impressive musical body of work, mixing classical strings with atmospheric snarls within a soundtrack which includes one particular track which clearly evoked Strauss' "The Blue Danube" from 2001: A Space Odyssey with a slight hint of La La Land-esque romantic sensibility, and with Linus Sandgren returning as Chazelle's cinematographer, the Swede chooses to shoot the grounded drama of the 1960's with a grainy, Battle of the Sexes-esque aesthetic, saving the power of the IMAX cameras for the concluding journey into outer space, where vast darkness and utter silence has never looked so utterly beautiful. Whilst the decision to focus more on the man rather than the expedition may indeed alienate some audiences heading into a screening of First Man eager to witness an abundance of space exploration, Chazelle's construction of the few shuttle set pieces when they do come are terrifying, evoking a maniacal sense of claustrophobia as the camera is literally shoved into a tin box alongside our daring heroes who come to realise that all that separates them from certain death is a couple of screws and some tightly woven, rather shaky metal. Choosing to focus on the emotional resonance of one man's story against the backdrop of the Apollo missions, Chazelle's latest is a lavish, visually stunning and perfectly acted character study which not only emphasises the young American's luscious talent for producing memorable cinematic experiences but also highlights the ease in which a difficult tale such as the one central to First Man can be handled with such maturity and effortlessness. See it in IMAX.

Overall Score: 9/10

Film Review: La La Land

"I'm Letting Life Hit Me Until It Gets Tired. Then I'll Hit Back. It's a Classic Rope-a-Dope..."

The return of director Damien Chazelle this week brings with it a wide range of reasons to rejoice, no more so than remembering just how superb the masterpiece that was Whiplash back in 2015, a film which had the brilliant recognition of landing top of the list for best movies in its' respective year at Black Ribbon alongside a couple of Academy Awards including a Best Supporting gong for J. K. Simmons who reunites with Chazelle in his latest cinematic venture, La La Land. Going by trailers and other in-your-face modes of advertisement alone, the hype surrounding Chazelle's latest was unbelievably rapturous to say the least with calls for a shed-load of awards to be swiftly thrown in its' general direction amongst unanimous rave reviews which concluded with parades of full marks for execution. Where Whiplash was essentially a war movie disguised in the body of a jazz-based drama, La La Land is a full-blown romantic musical, one which is soaked in a wondrously upbeat sense of joy and a rare case of a film which not only lives up to the hype surrounding it but surpasses it two-fold, resulting in an unforgettable cinematic journey which accumulates in you leaving the cinema with a spring in your step, singing and humming the beautiful soundtrack alongside a willingness to see it again as quickly as possible.  

Following the intertwining lives of Emma Stone's ambitious actress Mia and the jazz-infused figure of Ryan Gosling's Sebastian, La La Land succumbs to the age-old tale of classic musicals by focusing primarily on a relationship gelled together by ambition and dreams, beginning with the first moments in which our leading lovers embrace and eventually concluding in a manner both heartbreaking yet entirely fulfilling. Intertwining the narrative throughout the film are the beautifully written and deliciously choreographed musical routines which although are not as explosive and extravagant as classical cinematic scenes of similar ilk, manage to perfectly suit the overall tone of the movie, with "Mia & Sebastian's Theme" being the standout track of the soundtrack, a melodic piano piece which accompanies the narrative of their relationship from its' inception until the end. With Stone arguably stealing the show as the doe-eyed barista, eager to hit the big time in Hollywood, Gosling's confident yet understated sense of swagger results in a central relationship which oozes chemistry, helped extensively from the pair's past work in films such as Crazy, Stupid, Love, resulting in a pair of leading characters in which you totally believe in from beginning to end. 

Writing a day after the conclusion of the annual Golden Globes awards, it comes at no surprise to see Chazelle's latest completely sweep the board in a record-breaking bout, with awards for each of the top-billed trio a fitting reward for a movie which in a time of trials and tribulations in terms of the overall world view, reminds you how cinema can allow for a route of escapism in troubled times, particularly a movie as heartwarming as La La Land. If Whiplash was Chazelle's angry awakening to Hollywood, then La La Land is a commemorative ode to its' otherworldly appeal, one which embraces the notion of the American dream and a destination where many journey to reach their goals of fame and fortune. In the case of La La Land, Chazelle has found his Citizen Kane, his Singing in the Rain, and after its' inevitable forthcoming award success, the cinematic spectrum will most certainly become his oyster and as an avid fan, I cannot wait to see what happens next. 

Overall Score: 10/10

Film Review: 10 Cloverfield Lane

"Crazy Is Building Your Ark After The Flood Has Already Come..."

Who remembers Cloverfield then? That's right, the sci-fi found footage epic that did more damage to your brain with its' continuous shakiness than most others in its' respective category, produced by the man of the moment J.J. Abrams and written by Drew Goddard, the man behind the screenplay of Ridley Scott's The Martian from last year. Dropping Drew Goddard but keeping the producing talents of Abrams, 10 Cloverfield Lane, coined the "blood relative" of Cloverfield, pretty much goes in every opposite direction to its' sister, leaving the shaky found footage and the outside metropolis of New York behind in favour of a film which essentially becomes Panic Room meets Psycho, with the threat of the alien apocalypse stirred in for good comfort. With Damien Chazelle, writer and director of last years' best film Whiplash, part of the writing circle and a trio of marvellous acting talents, 10 Cloverfield Lane is a superb, tense and taut sci-fi thriller. 

Waking up from a violent car crash in a locked confinement, chained to her bedpost, Michelle (Mary Elizabeth Winstead) is greeted by the conspiracy-driven creepiness of Howard. played in a completely Kathy Bates-esque fashion by John Goodman, who chews the scenery from beginning to end in creating a character mixed between Annie Wilkes and Norman Bates, the freakiest of mixes if ever there was one. Told by Howard of the outsides contamination by unknown forces, Michelle and fellow captive Emmett (John Gallagher, Jr.) begin to query Howard's true intentions and the accuracy of his warnings. Although the film is driven by the sheer brilliance of Goodman, with Howard being a larger than life force to be reckoned with, the tight and compact surroundings of the bunker in which the film primarily takes place adds to the sense of isolation and containment the film attempts to create. And boy, it sure creates it. 

Although the array of effective jump scares and scenes of complete and utter white knuckle tension make 10 Cloverfield Lane a fantastic thriller, it should be said that the BBFC's decision to award the film with just a 12A certificate is strange to say the least. Violence, acid-burned faces and bodies, and themes of abductions and captivity, all alongside infected zombie-like civilians all result in making 10 Cloverfield Lane the most top-end 12A film I think I have ever seen. Trust me, it's not something for ten year old's, let alone some 15 year old's, so take it from me, be wary of the the deceitful classification. That aside, 10 Cloverfield Lane is a brilliant thriller, one that seemingly popped out of nowhere with very little press and exposure before its' swift arrival in cinemas, something of which I can only stand up and applaud. If his success with Star Wars allows J.J. to carry on making films such as this in the future, I look forward to his next project.

Overall Score: 8/10