Tinker Tailor Soldier Spy Movie Review 0 105

Tinker Tailor Soldier Spy comes with a lot of impressive credentials: it’s based on a best-selling novel by John le Carré, it’s helmed by the director of a successful Swedish vampire movie, a previous mini-series adaptation of the book is fondly remembered (at least by people of a certain generation) and it has one of the best British casts in recent memory. The possibility of utter disappointment looms over it like a cloud. But it thankfully proves that a film with such hype behind it going in can completely deliver.

Set during the Cold War, Gary Oldman plays ex-MI6 agent George Smiley who is brought out of retirement to help uncover a mole planted by the Russians years ago.

It’s perhaps understandable the trailers sold the film as a lot more of an all-out thriller than it actually is. The trouble, though, is it might draw in audiences who are expecting something faster paced when in reality this is much slower than you might expect. However, it’s never once dull or boring, taking its time to build a quiet suspense and anticipation which gives it a palpable energy, a fascinating heartbeat.

Tomas Alfredson impresses mightily here with his latest feature after the fabulous Let the Right One In. He, along with screenwriters Peter Straughan (The Men Who Stare At Goats) and Bridget O’Connor (Sixty Six), takes this potentially overly complicated story and brings it all together with a certain sleekness which helps to give the film its overall handsome feel. Although most definitely a spy film, this is not James Bond. As if on purpose it’s almost entirely devoid of the action-filled tropes of the Bond franchise (many guns are seen but rarely used). That’s definitely a good thing – this is a story which doesn’t need action to make it interesting or exciting.

A tremendous attention to detail means the film never once treats its audience like idiots, trusting implicitly that you can keep up with every single one of the many secretive discussions held throughout the film, with tons of names thrown around which you are expected to remember for later on. It’s quite reminiscent of David Fincher’s Zodiac in that it hits you with a barrage of information and expects you not to lag behind in understanding. And rightly so. This is complex stuff – technically and morally – and it’s so refreshing to see a film (especially one getting as much press and exposure as this) not holding your hand while walking through the fog. It’s ambiguous in the best of ways, reaching the level of intrigue but not frustration. It’s left up to you decide what certain things could mean, even down to things like crucial character motivations. It understands that life isn’t simple, especially the type of life it depicts, and doesn’t go out of its way to tie everything up with a neat bow.

The film is understated but still shocking when it needs to be, and even the latter (infrequent) moments serve a clear purpose and aren’t just there for the sake of it, in order to spice up the proceedings. There’s plenty of intrigue in the abundant mystery to hold attention. It all unfolds like a jigsaw puzzle being solved: at first it looks like a huge jumble but as the pieces of the puzzle get put together the overall picture becomes clearer. And most importantly it feels like you’re the one completing the jigsaw.

Next up the cast. There are wonderful performances across the board, as if that even needs to be said. Where do you even start? I suppose it has to be with Gary Oldman, who puts in one of his best ever performances (that’s especially impressive given the career Oldman has had), one which should bag him his first ever Oscar nomination (yes, really) and there’s a good chance he may win, too. It’s very nice to see him take center stage when he’s so often supporting others, bringing a quiet, aged wisdom and inherent likability to the role of George Smiley.

However, the film is arguably as much an ensemble piece as it is a showcase for Oldman. The likes of Tom Hardy, Colin Firth, Ciarán Hinds, Toby Jones, John Hurt, Benedict Cumberbatch (TV’s modern day Sherlock Holmes), Mark Strong and David Dencik are all fantastic in their respective roles, each getting their own times to shine at different points throughout. Once the “who is the spy?” plot point is introduced you start to look at each of them with distrustful eyes, sure one minute that a certain character is the mole before another does something out of sorts and your suspicions turn to them. Trust no one, suspect everyone.

The score by Alberto Iglesias (The Skin I Live In) is subtle yet memorable, helping to give the film its pulse. And the cinematography by Hoyte Van Hotyema (reuniting with his Let the Right One In director) is soft, easy on the eyes, and goes a long way to capturing the Cold War time period, so much so that it often feels like it was genuinely made all those years ago.

If the film lacks anything it’s emotionality. There’s no doubt you care for these characters – although that’s perhaps down to the skill of the performances – but the film keeps you at a distance throughout meaning you might not be entirely emotional invested. But there’s a sense that that’s entirely the point, that you’re supposed to be looking at it with objective eyes, judging these character’s actions, spying on the events yourself. In the end what we have here is a good old-fashioned grown up drama-thriller, doing what it does rather brilliantly. A fantastic convergence of talent on all fronts.

Tinker Tailor Soldier Spy is available on DVD and Blu-ray now.

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I'm a freelance film reviewer and blogger with over 10 years of experience writing for various different reputable online and print publications. In addition to my running, editing and writing for Thoughts On Film, I am also the film critic for The National, the newspaper that supports an independent Scotland, covering the weekly film releases, film festivals and film-related features. I have a passion for all types of cinema, and have a particular love for foreign language film, especially South Korean and Japanese cinema. Favourite films include The Big Lebowski, Pulp Fiction and 2001: A Space Odyssey.

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Movie Review: Killing Ground 0 639

This review was previously published at The National.

This audacious and especially gruelling Aussie horror-thriller from short film-turned-feature director Damien Power centres on a young couple, Ian (Ian Meadows) and Margaret (Maya Stange), who take a camping trip with their baby to a remote and idyllic spot in a national park.

Once there they discover another group’s camping gear, however the people are nowhere to be seen. Upon some investigation they find themselves a part of a gruesome crime perpetrated by a couple of unknown assailants who appear to be hunting them down.

This impressive debut exemplifies the horror genre’s unique ability to unnerve an audience, lulling us into a false sense of security as so many horror films do with a pair of amiable leading characters and a sunny prospect of a calm holiday retreat before slamming home the horrific truth of the matter.

Using a very clever narrative structure of flitting back and forth between the present couple’s predicament and what exactly happened to the group that set up camp before them, the film drags us by the scruff of the neck down a gruesome and astutely disquieting road that makes for equal parts compelling and shocking viewing.

The horrifying events are amplified by Power’s decision to shoot them with a serene passivity. He allows the unfolding threat and repulsive violence to occur in an almost matter-of-fact manner, utilizing stillness captured by the beautiful cinematography to offset the horror. It conjures a deeply uncomfortable sense that, adding to the film’s largely cynical disposition, bad people exist in the world who commit terrible acts and there’s often nothing we can do about it.

Killing Ground effectively continues the line of grizzly Aussie horrors like Long Weekend, Wolf Creek and The Loved Ones, as well as particularly evoking the Brit gem Eden Lake. This is an example of cinema that knows how to ramp up the tension by never being afraid to show the brutal reality of a scarily believable predicament – in every way it’s unapologetically not for the faint-hearted.

7.5 out of 10

Movie Review: Home Again 0 621

This review was previously published at The National.

Despite an obviously talented leading lady in Reese Witherspoon and a family pedigree behind the camera in making this sort of rom-com flutter sweetly off the screen, Home Again struggles to finds its way out of cloying cliché and narrative contrivance.

This is the directorial debut of Hallie Myers-Shyer, daughter of genre stalwart Nancy Meyers (The Holiday, What Women Want). It focuses on the life of Alice Kinney (Witherspoon), a single mum who has just turned 40 and tries her best to raise her two daughters Isabel (Lola Flanery) and Rosie (Eden Grace Redfield) in Los Angeles with her job as an interior decorator.

Freshly separated from her British music mogul husband Austen (Michael Sheen), she embarks on a drunken birthday night celebration that leads to her meeting a trio of 20-something lads – Harry (Pico Alexander), George (Jon Rudnitsky) and Teddy (Nat Wolff) – who are trying their best to break into the Hollywood movie business.

The young men improbably end up staying in Alice’s guest house while they work on finishing the script for their first film. Before long they become an integral part of her life, from Alice embarking on a romantic relationship with Harry to George helping out Isabel with her school play. To quote the title of the director’s mother’s 2009 film – it’s complicated.

Except the film mistakes the kind of enjoyably frothy complexity exemplified by the best of the genre for skin-clawing convolution that renders much of the romantic and comedically-tinged drama of Alice’s life lacking in authenticity. Not that it needs the ring of truth that comes with, say, a Ken Loach picture but you need to be able to invest and believe in these characters’ lives as presented.

The approach to gender and generational relationships is simplistic which, of course, is nothing new to a genre that, at least in its Hollywoodized state, so often throws up films meant to be taken as easy-going fluff. But it’s particularly frustrating here when it squanders the potential thrown up with the initial concept of a woman trying to find herself again once she’s out of a stale relationship by entering into one with a much younger man.

It strangely seems far more interested in the plight of the three young men working as three cogs of one creative machine – director/producer, writer and actor – to get ahead in the movie business.  But even then it smacks of implausibility, like a cheap rom-com version of the bromance found in Entourage but without any of the snarky wit or Hollywood satire. Despite decent chemistry between a likeable assembled cast, Home Again is a tough pill to swallow as it rings false through and through.

3.5 out of 10