SGS On Film

1) Mad Max Fury Road

A veteran like Miller understands the power of the image and what it yields, which is on full display in this visionary post-apocalyptic film.

2) Whiplash

An exhilarating and lingering depiction of ambition.

3) Bridge of Spies

A perfectly crafted period picture that captures the Cold War in all its murky and paranoid detail.

4) It Follows

A fascinating and loving embrace of the slasher genre that conceptualises death in a frightening new way.

5) Ex Machina

The cinematic equivalent of seeing a Chess Game unfold.

6) Star Wars Episode VII: The Force Awakens

The Force Awakens greatly articulates and expounds upon the appeal of the enduring Star Wars saga.

7) Slow West

A fundamentally tragic Western that chronicles the changing perspectives of two men’s outlook on life.

8) Inherent Vice

A superb piece of experiential cinema and admirable adaptation of Thomas Pynchon’s dense and psychedelic novel.

9) Macbeth 

Nature and War are at the heart of this commendably artful retelling of William Shakespeare’s powerful tragedy.

10) Crimson Peak

A fantastic harmony between Gothic horror and the exuberant, surreal style of Italian horror cinema.

In Slow West, the West bursts with bountiful colour, heightened optimistic starry skies and entertaining, quirky strangers. At least, this is the West seen through the eyes of a young man called Jay Cavendish (Kodi Smit-McPhee) whose immediate goal is to search for his long-lost sweetheart- Rose. (Caren Pistorius)

Slow West primarily works because of this intrinsic optimistic world-view and its interplay with the traditional conception of the West. The harshness and immorality of this latter idea of the West are represented by Silas Selleck (Micheal Fassbender) He believes that there nothing else to living other than survival. And part of the film’s fascination is how his world view is shaped and changed by Jay, who he initially deems as too positive for his sake.

As Selleck, Fassbender delivers his most subtle performance to date as the changes in his character are expectedly conveyed through body language, vocal tones and demeanour. All these three elements are wonderfully encapsulated in the closing scene as Selleck sees Jay lying dead in the corner of the house in which he enters. His reaction upon seeing his fallen partner is one of utter admiration and sadness as opposed to annoyance and contempt as portrayed earlier in the film.

Finally, Slow West marks the directorial debut of John Maclean and is commendable what Maclean achieves in his first picture. From these surreal and almost Andersonian remembrance scenes to these bleak and tense action sequences that have small, poignant character moments. Maclean has fundamentally made a tragic Western, which chronicles the changing perspectives of two men’s life within it.

The Man from Uncle is a pure stylish exercise and embrace of the sixties spy picture that one has to admire Guy Ritchie’s directorial prowess in evoking this period. From ingenious uses of split screen to a rich colour palate, Ritchie has commendably captured the inherent exotic travelogue quality that characterised many of the spy pictures of that era. However, despite this substantial primary virtue, at the heart of the film resides a deep seeded problem. The picture is too smirky for its own good.

This aspect is most evident in the performances. Henry Cavil plays Napoleon Solo like an American, who has ingested the collective works of Roger Moore, which results in an amusing, brash and temperate performance. This fundamental problem that is centrally evident in Solo’s character nullifies any sincere attempts at drama, moments of sustained tension and Cold War intrigue. The tone is so perversive that it even seems that the historical conflict can be solved over cold glasses of beers as opposed to moments of profound trust with other nations.

Out of all the Marvel films that have passed through the studio grind, Ant-Man surprisingly holds the most interest and humanism. The curiosity does not just stem from the behind the scenes troubles, in which famed British director, Edgar Wright quit over creative differences and the ensuing production problems that occurred afterwards. There is no doubt that Wright’s unique cutting, editing, and visual sensibilities would have made the frequently clunky exposition scenes more exciting.

However, Ant-Man primarily succeeds because of its inherent human focus. The film works as a compelling drama with the super heroics almost feeling incidental, like if one met a compelling person at a firework show. The colourful balls and sparks of a Roman candle would only be a temporary distraction from the meaningful and stimulating human connection being made.

Halfway through the film, Hank Pym (Micheal Douglas) says to Scott Lang (Paul Rudd) “It’s not about saving our world, it’s about saving theirs.” The line is indicative of the personal stakes that the film has as its central virtue. Pym sees himself as a failed father but sees that there is still a chance for Lang not to be in the eyes of his daughter- Cassie.

Moreover, at its heart, the film is about a man’s legacy, who he chooses to protect it and the reasons for why he wants its hidden from the world at large. From here the film takes a fascinating examination of Pym through the prism of its protagonist and antagonist. On the one hand, there is Darren Cross, who Hank nurtured and mentored. Pym remarks that he saw himself in Cross, but too much of himself. Cross is ambitious and ruthless, almost representing a younger version of Pym with the same characteristics.

On the other hand, there is Scott Lang, who represents a figure in which Pym can feel redeemed through, not only from the vantage point of fatherhood. But also, his legacy, which is tied to his wife and daughter. Douglas’s stern manner contrasted with Rudd’s adolescent; schoolboy nature makes Pym and Lang’s interaction amusing and meaningful.

Finally, the picture still has the usual trappings of a Marvel Studios film, excessive humour, wedged in references and liberal cribbing of prior installments. The difference is in the execution. For example, the action sequences have a sense of fun and cleverness due to the use of scale. The finale turns a child’s bedroom into a dangerous and mischievous place as toy trains, and ants become amusing sources of impending doom.

Bridge of Spies captures the Cold War in all its murky and paranoid detail. Throughout its running time, it paints a striking and often accurate picture of life under this tense and morally gray period in history. The film commendably shows the audience vastly different points of view of the conflict. In one of the picture’s most harrowing scenes, Speilberg shows stock footage of the devastation of Hiroshima to a class of young children.

The scene is indicative of two things. Firstly, Speilberg can encapsulate the mood of a period in mere seconds and thus remind the viewer why he is still one of our most interesting and relevant filmmakers. Secondly, the scene shows that propaganda, no matter how illogical or foolhardy can even affect the most innocent in society. This latter idea is most strikingly represented in a later scene where James Donavon (Tom Hanks) is listening to his son expound upon his understanding of nuclear bombs and the Soviet Union.

The conflict is articulated in other subtle and interesting ways. In the exchange scene near the end, Donavon observes Soviet Snipers, which he seems surprised to see. His commanding officer points out that the American have snipers too. At that moment, Speilberg showcases that the Cold War can simply be summarised as a series of presumptions on the part of two powerful nations.

The film is visually at its finest in its third act when it takes place within the ruined and decaying East Berlin. Speilberg in a tracking shot shows us the building of the Berlin wall and the devastation that it caused for so many people in such a potent manner. However, Bridge of Spies is best in its dramatic moments, where conversations carry the weight of nations.