Director: Sofia Coppola
Starring: Nicole Kidman, Kirsten Dunst, Colin Farrell, Elle Fanning, Oona Laurence, Angourie Rice, Addison Reicke, Emma Howard
Thomas P Cullinan’s 1966 novel The Beguiled was first adapted for the screen by Don Siegel in 1971 with Clint Eastwood in the lead (immediately preceding their collaboration on Dirty Harry) in a film which played up the story’s horror elements. Writer-director Sofia Coppola’s adaptation, for which she won best director at this year’s Cannes Film Festival, is a different film. While also a trimmed down, streamlined version of Cullinan’s story, Coppola gives it a distinctively feminist perspective, aligning our point of view with the female characters.
1864, Virginia. It is three years into the American Civil War, the result of which is becoming clearer by the day. A young girl, Amy (Oona Laurence), finds a wounded Yankee soldier, Corp. John McBurney (Colin Farrell) in the woods and offers to take him back to Ms Farnsworth’s Seminary for Young Ladies for treatment. Continue reading
Director: Chan-Wook Park
Starring: Mia Wasikowska, Nicole Kidman, Matthew Goode, Alden Ehrenreich, Dermot Mulroney, Jackie Weaver
Written by Wentworth Miller, who you may know as one of the stars of the television series Prison Break, and heavily indebted to Alfred Hitchcock’s Shadow of a Doubt, Stoker is a coming of age story with a difference. Think less Stand by Me and more Carrie.
India Stoker is a morose teenage girl, darker than your normal morose teenage girl, uncomfortable in her own skin and unsure of her identity. When her father, with whom she was close, is killed in a car accident she is left without a buffer between her and her troubled mother, with whom she has a strained relationship. Living alone together in large Southern mansion, they are surprised by the arrival of her Uncle Charlie, a brother of her fathers whom she didn’t know existed. Charlie arrives out of the blue and declares his intention to stay for a while. He is young, handsome, and well-travelled, and instantly charms India’s mother, while India is more cautious and distrusting of this mysterious uncle. With time she finds this distrust matched with a strange sense of kinship, before learning the dangerous truth about Uncle Charlie… he is a psychopathic serial killer.
This psychological thriller is directed by Korean filmmaker Chan-Wook Park who gained international attention in 2004, when his revenge thriller Oldboy won the Grand Jury Prize at the Cannes Film Festival and became a cult favourite around the world. Stoker marks his first foray into English-language filmmaking and he has no trouble applying his immense talent for visual storytelling to a different language. The images are masterfully composed, and cleverly edited together, including an interesting transitionary device where items that appear to be part of one shot end up becoming part of the shot on the other side of the dissolve.
Stoker has a creepy, chilling tone – established through the way the picture is photographed, the performances of the actors, and the music – that elicits quite a visceral reaction. Before you process the narrative information, before you understand what is going on, you are already feeling that sense of unease and mistrust.
The film has a Gothic feel to it, no doubt resulting from the fact that much of the action takes place in the Stoker’ old Southern mansion, which looks unchanged since the 1930s. In fact, it makes it initially quite difficult to pin down a time period for the events. You find yourself assuming that you are watching a period piece from the first half of the 20th century until we get a couple of scenes at the school which makes it apparent that it is the present day.
Stoker’s second half lacks the subtlety of its slow-burning first half, with that spookiness and sense of menace that is so overpowering in the film’s early passages making way for more direct, confronting images of violence. The eroticising of these acts of violence adds another disturbing layer to the bond being formed between India and her uncle.
Stoker will only receive a limited release, and likely won’t make a huge impact, but it could well be one of the year’s best films. It is a fantastic psychological thriller: creepy, compelling and strangely beautiful.
Rating – ★★★★☆
Review by Duncan McLean
At 5:30am Los Angeles time, Oscars host Seth MacFarlane and Emma Stone announced the nominees for the 85th Academy Awards. While there were a few categories which panned out exactly as expected, the nominations did throw up more than the usual number of surprises. Here are five of the biggest…
1) Only 9 in the Best Picture
There were a few notable omissions in the Best Picture category. Moonrise Kingdom, The Master, The Sessions and, to a lesser extent, Skyfall had all been talked about as Best Picture contenders but all were notably absent from the nominees announced. What makes that even more surprising is the Academy chose only to give out nine of a possible ten nominations. So it wasn’t even that these films were simply squeezed out by other worthy pictures, rather they were deemed not worthy of a nomination.
2) Amour gets some love
It is not often that a foreign language film gets Academy recognition outside of the Best Foreign Language Film category. So it was somewhat of a surprise to see Michael Haneke’s Palme d’Or winner, Amour, pick up five nominations including Best Picture and Best Director. If nothing else it means that Amour will be the shortest of short priced favourites to win the Best Foreign Language Film category.
3) Big names missing in the Best Director field
It was the Best Director nominations which contained the biggest surprises, primarily as a result of who wasn’t there. Ben Affleck, Quentin Tarantino and Kathryn Bigelow had all been talked about as serious contenders to take the award home, yet none of them managed to get a nomination. The most obvious beneficiaries of these ‘snubbings’ are the surprise – unexpected but not undeserved – nominations of Michael Haneke and Behn Zeitlin (Beasts of the Southern Wild).
4) Silver Lining Support
The surprise nominations in both the Supporting Actor and Actress categories both came from Silver Linings Playbook. Robert De Niro had only received a handful of lead up nominations, none of them major, for his role as Pat Sr. His surprise nomination means that there wasn’t room for some more fancied possible nominees, particularly Django Unchained’s Leonardo DiCaprio and Samuel L. Jackson. Australian Jackie Weaver came from right out of left field to score a nomination in the Supporting Actress category having not received any lead up nominations, other than as part of an ensemble cast. The Golden Globes and SAG nominations had opted for Nicole Kidman (The Paperboy) or Maggie Smith (Best Exotic Marigold Hotel) to round of their fields, but neither seem any more deserving than Weaver.
5) The Dark Knight does not rise
While I don’t think anyone was realistically expecting The Dark Knight Rises to earn a best picture nomination, most would have expected it to figure somewhere (maybe in visual effect?), but instead it became the highest profile film to be completely overlooked by the Academy this year.