FILM REVIEW: THE BUTLER

Hopscotch Films

Now Showing

Inspired by the career of a White House attendant, Lee Daniels' The Butler (its full American title following a copyright kerfuffle) charts the history of the American Civil Rights movement, from the 1950's through to the election of President Obama in 2008, in tandem with the life and career of the titular manservant, Cecil Gaines (Forest Whitaker).

From Cecil's childhood on a Southern cotton plantation in the 1920s -- where a sympathetic but no less bigoted Mistress (Vanessa Redgrave) instructs the young Cecil on being the perfect houseboy -- through his 40-odd years as a butler at the White House -- serving eight presidents from Eisenhower to Clinton -- The Butler, penned by Danny Strong, examines the political and the personal struggles for racial equality in the United States.

Privy to the movement's, and America's big moments -- segregation in Little Rock, Arkansas; the Freedom Rides; the assassination of Dr. Martin Luther King -- from within the halls of the American seat of power, Cecil is at somewhat of a remove from the bigger picture unfolding across America; his viewpoint filtered through whomever is the current President, who is either mindful of Cecil (James Marsden's John F. Kennedy), or, if not oblivious to his race, than certainly his emotions (Liev Schreiber's Lyndon B. Johnson).

The cameos of noted actors portraying the Presidents -- which also includes Robin Williams (Eisenhower), John Cusack (Nixon) and Alan Rickman (Reagan) -- isn't as distracting as you'd fear. Although little more than extended walk-ons, they aren't amusing for their appearance so much as the often present hypocrisy; their respect for Cecil but their failure to grasp the importance of the Civil Rights movement: Reagan champions Cecil's long-waged campaign of equal pay for the White House's coloured staff even as he steadfastly refuses to oppose the South African government's policy of apartheid.

What Cecil may think about his employers he does not say, perfecting the art of the butler who should make the room appear as though he is not in it. And Whitaker, an actor with distinct facial features and a whispery voice, is perfect at portraying a man so accustomed to not being observed or questioned.

But when Cecil is at home, he's forced to engage. Not just by his colourful wife, Gloria (a fine Oprah Winfrey), but by his impassioned eldest son, Louis (David Oleyowo). Louis, unlike his father, knows what's happening in the real world; he senses the winds of change. When he leaves for university (in the South, no less), he pursues his political leanings (and fellow activist, Carol (Yaya Alafia)), much to the chagrin of his parents.

Louis's arc -- the Freedom rides, a disciple of Dr. King, a flirtation with the Black Panthers -- charts the Civil Rights movement from within, exposing the overt racism at America's heart, and the bravery of those involved in confronting and overcoming it.

It's in these moments -- in the Gaines household with Cecil and Gloria; in the instances where father and son clash over ideology -- the quiet and personal ones, where Daniels' film excels. While the larger construct of of the film, the broad strokes of history, may not always be convincing, the emotional beat of The Butler comes through.

FILM REVIEW: THOR: THE DARK WORLD

Walt Disney Studios Films

Now Showing

A Norse god from an alien world, fighting side by side with humans and super humans? It really shouldn't work and yet the character of Thor -- a Marvel Comics creation and a member of said super human team, The Avengers -- isn't as incongruous as you'd think. And in the guise of Chris Hemsworth, he's an even easier anomaly to swallow.

The Dark World is Hemsworth's third outing as the hammer-wielding God of Thunder (after 2011's Thor and 2012's The Avengers), and the finely chiselled, blonde-mane man mountain seems to be the most at ease he's been with this character yet. It helps that he has Tom Hiddleston, also back for the third time as Thor's adopted evil brother, Loki, as his sparring partner; the latter playing the salty yin to Hemworth's (rock) solid yang.

The two are forced to bury the hatchet and work together this time to defeat Malekith (Christopher Eccleston), a Dark Elf whose previous attempt to submerge the universe in darkness by use of an energy force known as the Aether, was thwarted by Thor's grandfather. And while Malekith escaped, the Aether was hidden somewhere within the Nine Realms (of which Earth, and Thor's home world, Asgard, belong).

But when astrophysicist, Jane Foster (Natalie Portman, reduced to a mere damsel in distress this time round), who also happens to be Thor's long distance love interest, discovers the Aether in London, unwittingly becoming a vessel for the energy force, Malekith is awakened from his suspended animation and sets about resuming his evil plan where he left off, forcing Thor to spirit Jane away to Asgard and to ultimately turn to his brother for help.

Alan Taylor, best known as a director on hit television series Game of Thrones -- and no doubt chosen to helm this sequel (when original choice, Patty Jenkins, departed due to creative differences) because of the tenuous connection between the two properties' sword and sandal fantasy elements -- keeps everything moving (after a slow start) without ever distinguishing himself; The Dark World doesn't have the Shakespearean overtones which Kenneth Branagh brought to the first film, even when most of the action occurs on Asgard and in the House of Odin.

But it does have that same sense of fun which prevents The Dark World from becoming a good versus evil, the world-on-the-edge-of-total-annihilation CGI-driven bore. For all the Asgardian world building in this second outing, it's the human touch which keeps the audience engaged in Thor's second solo outing; Kat Dennings as Darcy Lewis, Jane's spunky intern, and Stellan Skarsgard as fellow astrophysicist, Eric Selvig, whose had his marbles scrambled following a previous encounter with Loki, providing much of the film's humour, as does Hiddleston.

The end credits* promise us Thor will be back, and why wouldn't he? Marvel and Disney have made a motza from the Avengers franchise, with the last two films alone (The Avengers, and this year's Iron Man 3), each grossing north of $1 billion at the box office. I doubt The Dark World will do the same kind of business (The Avengers was an "event" film, and Hemsworth is no Robert Downey Jr.) but it's an entertaining enough adventure that should sate the fan boys until Captain America returns in April 2014.

*Note: Do stay through the end credits for not one but two clips. Don't see the film in 3D; the format adds nothing to the viewing experience.

FILM REVIEW: CAPTAIN PHILLIPS

Sony Pictures

Now Showing

Greengrass' United 93 was my favourite film of 2006. The docudrama-like retelling of doomed United Airways Flight 93 on that fateful day in September, 2001 bristled with drama and emotion without ever being sensationalist or cloying. It was a thriller that never lost sight of the human bravery and tragedy it was portraying.

And although we knew the outcome, such was the skill of the direction, coupled with the no-name cast (and one's own subconscious Hollywood indoctrination: all endings are happy, yes?) that we thought the passengers might make it after all -- even when viewing it a second or third time.

Captain Phillips is also based on actual events: the hijacking by Somali pirates of an American cargo ship; the first US ship to be taken by pirates in some 200 years. And like United 93, while less infamous and far less tragic, the outcome is also known (although if you know nothing of the events aboard the Maersk Alabama, you're sure to find Captain Phillips far more nail-biting).

And like United 93, Greengrass brings his docudrama aesthetic -- not to mention his Bourne-style flourishes -- to this high seas drama; first putting the audience on board the Alabama when it is seized by just four gun-wielding Somalis, and then at sea when said pirates and the titular Captain (Tom Hanks) head for the Somali coast in the claustrophobic confines of a life pod, pursued by American naval ships.

Adapted by Billy Ray from Richard Phillips' book, A Captain's Duty: Somalis Pirates, Navy SEALS and Dangerous Days at Sea, detailing the events, Greengrass' film works as both a thriller and a commentary on the explosive meeting of the First and Third Worlds; Phillips and the pirates functioning as symbols as much as anything else (there's little in the way of back story for either Phillips -- a clunky opening scene let's us know he has a wife (a pointlessly cast Catherine Keener) and kids -- or the hijackers).

Still, Hanks is ideal for the role of Phillips. His 'every man' qualities making the captain empathetic and believable. And it's a solid turn by the actor (even with his inconsistent Boston accent) as Phillips keeps his wits about him in the face of danger and sacrificing himself for his crew.

Feature film debutant, Barkhad Abdi, also manages to register as Muse, the leader of the four pirates who is determined to make the Alabama his big ticket. There is hunger in this man's eyes, both figurative and literal, and either a captain's ransom or a one-way ticket to America will sate that desire.

Captain Phillips doesn't come close to United 93 in eliciting emotion or for producing suspense, nor is it equal to that film generally. But Greengrass continues to excel as a director who effectively marries Hollywood sensibilities with political narratives: producing thrillers for adults and exercising the mind as he quickens the pulse.

FILM REVIEW: PRISONERS

Roadshow Films

Now Showing

If evil triumphs when good people do nothing, how minor - or large - is the victory when good people choose do evil things in an attempt to achieve good? That's the troubling question at the heart of Canadian director Denis Villeneuve's first English-language film, Prisoners, a thriller and police procedural which may have you questioning your own ethics as it implicates you in its lead character's extreme decisions.

That's Keller Dover (Hugh Jackman), a building contractor and a man's man; the kind of guy who teaches his adolescent son to shoot deer and instructs him to be prepared for anything (Keller's basement filled with enough food, water and fuel supplies to last several months should the need arise).

And when Keller's young daughter goes missing, along with her best friend and daughter of the Kellers' (wife Grace, played by Maria Bello) friends and neighbours, Franklin and Nancy Birch (Terrence Howard and Viola Davis), he's prepared to do what it takes to find his little girl. If that means taking the law -- and the police's number one suspect -- into his own hands, than so be it.

Alex Jones (an excellent Paul Dano) is a bespectacled young man with the IQ of a 10-year-old and creepily, whispery voice that recalls a Michael Jackson parody. Jones, who lives with is widowed aunt (Melissa Leo), also drives an RV like the one the girls were earlier seen playing on (and which the audience witnessed circling the neighbourhood like a shark looking for prey), and this, his mental state and a scene involving animal cruelty leaves Keller (and us) in no doubt that Jones abducted the girls. And if the police, headed up by Detective Loki (Jake Gyllenhaal), can't get him to talk, Keller will.

Jones becomes the prisoner (or one of them) of the title; held in an abandoned apartment belonging to Keller where he, and, reluctantly, Franklin, beat and torture the suspect in the hopes that he'll eventually cave in. And Villeneuve makes us both witness and party to this torture, asking us whether we, even if we believe Jones to be guilty, would go to such lengths and such brutality to ensure the safe return of a loved one. Is Keller doing what any one of us would do? Or has he gone too far?

I'm on the record as not being a fan of Hugh Jackman so it should probably be taken with a grain of salt when I suggest that his performance in Prisoners is arguably his best to date (even the role of Jean Valjean in Les Miserables, which earned Jackman his first Oscar nomination, failed to impress). The closest he's come to playing a hard man is as Wolverine, but the tough guy antics Jackman's called on to perform here are not of the comic book variety; they're more real and human, and it's only when his emotions become OTT that he is less convincing.

Gyllenhaal is excellent, too. The role of Detective Loki doesn't provide much in the way of back story or psychology but then again, a detective who has 100 per cent success rate when it comes to solving cases probably doesn't have much time for a personal life: the case unfolds over a matter of days and we only ever see Loki on the job; the only time he gets to emote or unload emotionally is on his Chief or his work desk.

There's the suggestion of a harsh childhood (perhaps that accounts for the constant blinking?) and perhaps his steely determination in the pursuit of the law is a constant battle to right the wrongs once committed against him? Either way, Gyllenhaal makes him dogged in his pursuit of the perpetrator yet quietly noble in his adherence to the letter of the law. Paul Dano and Melissa Leo also give terrific performances but it's a shame how little Bello, Howard and Davis, all fine actors capable and worthy of more, are utilised.

The world in Prisoners is a grim one, even more so than in Villeneuve's previous film, the Oscar-nominated Incendies. Roger Deakins' cinematography amplifies that grimness, barely letting any light in. A lot of the action occurs during the night while during the day, if it's not snowing it's raining, and sometimes both; rendering the landscape -- both physical and moral -- grey, muted and cold.

This combined with the constant knot in your stomach, which expands and shrinks as the film effectively increases and releases the tension (diminished only slightly in the third act where there is twist upon twist and the pennies begin to drop), does not make for a pleasant viewing experience. But it does make Prisoners an experience worth enduring.