Southpaw

'A fighter only knows one way to work'

Though admittedly there are some boxing film cliches to be had in Gylenhall's latest film venture (which he has clearly bulked up for) there is undoubtedly some emotive and very moving content- that I'm not too willing to admit, had me in tears on occasion.

Having been persuaded to watch this film as opposed to others, whilst in New York, I was somewhat apprehensive as boxing/sporting narratives are not necessarily my first choice.

However, I was not disappointed. Rachel McAdams (Maureen) and Jake Gyllenhaal (Billy Hope) portray a relationship, and marriage, many would be envious of- as individuals raised by the state (again slightly cliche) they are portrayed as a couple with only each another in the world, and a daughter whom they adore.

Through the time in which Maureen (McAdams) is present you cannot help but be absorbed into the chemistry of this small family and the very obvious love there is between the three; the cynic may say the portrayal of this married couple is cheesy and staged, but on the contrary I would say very endearing. This all in all could possibly lead potential viewers to be 'fictionally heartbroken' (and if you're anything like me- tearful) at the preventable, but nonetheless tragic loss of Hope's wife. The tragedy does not end there and Gyllenhaal's grief and  heartbreak is exhibited masterfully- expected from an actor of his calibre- as his family is torn apart by social services.

As expected there are many fight scenes, with the occasional slow motion upper cut, and obligatory hip hop infused training montages that fill a fair amount of the film, unsurprising given the genre. Some of these fights are quite brutal, which for the ever so slightly squeamish (myself included) may be a tad difficult to watch- particularly for those who are not fans of bloodied, and bruised eye sockets.

Throughout the film money and greed are represented as the driver for many in the vacuous world of 'showbiz', and is an ever so subtle reminder that people around you at your highest point are not always present for your fall- again a convention of many sporting films. It also leads one to ponder on the idea that celebrities lives are commonly amusement and entertainment for the public, even when these people experience tragedy. 

Though generally my review of Southpaw is positive overall, there were some corners cut in the the latter half of this film, particularly with a 'inner city teen' named Hoppy- poverty stricken, black teen with an abusive father. Though another stock, cliche character in such films, his miniscule part in the plot leaves audience wanting to know more, an opportunity I believe missed by the writer.

Ultimately Gyllenhaal makes for a sympathetic character and the audience wants him to win.The generic formula of rise to fall, then intense struggle to once again rising is of course expected from a film of this genre, though this made it no less emotive. The support of Forrest Whitaker and Oona Laurence (Leila, Billy's daughter) carries the film in an engaging way to its predictable, but pleasing conclusion. 

Final verdict: 3.5 out of 5

Fury

'A heart- wrenching portrayal of the emotional, physical and mental struggle one would assume war would inflict upon those on the frontline.'

Fury is not necessarily the testosterone filled war epic one may be expecting, it may be viewed as rather lengthy and rather slow paced for anyone expecting a blood-spattering Nazi killing fest. Having said that, the violence is at times graphic and would fulfil most people's craving for a bit of war gore- particularly the opening scene of an agile, animalistic Pitt penetrating a Nazi’s skull with a knife. Along with flesh piercing bullet scenes aplenty.

The, blue eyed, golden locked and very much romanticised image of Brad Pitt seems a thing of the past. Similar to many of his more recent film ventures, he is a mature lead, which results in our focus being sturdily on his ability to take the lead of this film, and of his men, as this stern, resilient yet emotionally distraught ‘Wardaddy'.

Another surprise, and a pleasant one at that, was Shia LeBeouf’s desperately troubled, verse preaching character; Boyd ‘Bible’ Swan. LaBeouf proves well his acting talent is not simply limited to the humorous pre- adolescent- a role in which he has most certainly been restricted to in the past. Though one may argue he does not have a hugely significant role within the narrative, his constant emotional state clearly conveys the mental and physical trauma war can ultimately inflict upon an individual, whilst his constant recital of scripture exhibits the desperate clasp he has on his beliefs- even if his actions and what he has seen in these gruelling years wholly contradict these preached words of the Lord.

Some violence undoubtedly bothered me, and made me significantly jump, however I'm not a lover of violence and have no vampiric desire to see, or be exposed to blood- this of course my personal preference. 

The narrative however lacks any presence of oestrogen,the short but somewhat uncomfortable scenes involving two individuals of the opposite sex would be unnerving for many to watch. The scene very subtly touches upon the potential abuse of power that many may, could or would inflict upon those inferior- the victims of war.

One of the most significant roles of the film is held by the tank itself...within the claustrophobic constraints of the walls the audience is exposed to their 'home'- walls decorated with photos, trinkets from home and stashes of alcohol. However, we gradually see that even the walls, that block them from the ever- engulfing poison of war, cannot provide any solace from the horrors outside; or provide them with an emotional bridge to life before war. Within this tank the significance of their friendship, and bonds between human beings, contradicts the inhumanity beyond Fury's walls. 

We see this unimaginable struggle to adjust to the impending violence and horror war inevitably brings, very empathetically, through Logan Lerman's presence as the young protagonist.  His emotional journey from typist of '60 words per minute' to war hero is most certainly a struggle, and one that consumes you with fear and doubt of whether or not duty and bravery can truly overcome such incomprehensible despair.

Fury is very much a  heart- wrenching portrayal of the emotional, physical and mental struggle one would assume war would inflict upon those on the frontline, it is unequivocally less patriotic than one would expect from a war 'blockbuster', and seems like a more realistic portrayal of the damage that can be done, but also makes evident the bonds that can be made between men.

'Ideals are peaceful, history is violent'

Final Verdict: 4 out of 5

Godzilla

'The arrogance of man is that they think nature is under our control and not the other way round.’

With the assumption, that thirty minutes of trailers would mean I would be on time for the start of the hotly anticipated new Godzilla flick - apparently I was unusually incorrect and unfortunately missed the first 8 minutes (I believe) however it appeared to make no difference to my understanding of the plot.

True to the nuclear nature of the Godzilla franchise, 2014's contribution was no exception with a moderately political stance on the dangers of nuclear power made evident from the outset - the Japanese setting immediately reflects the ancestry of the Godzilla films, but also makes delicate reference to the horrors of Hiroshima (and more recently Fukushima), which is directly mentioned once in the film.

Juliette Binoche, Bryan Cranston and child represent the stereotypical family unit with regards to the over used stock character of the overworked father; obsessed with one’s career, apparently unable to balance the role he has as a parent and a man with a job -  able to forget his own birthday.

The marriage portrayed however is, my softness may need to be excused, quite endearing and pushes the theme of love very much to the forefront of the narrative. Which we see embodied through man and nuclear beast.

Was a shame to see so little of Binoche, but her exit nonetheless pulled a heart string or two, and left Cranston to take the lead as it were. However, not to expose the plot too ridiculously, we unfortunately loose the company of Cranston rather earlier than expected, which in all honesty was shocking and rather a shame as his passion very much carried the first twenty minutes of the film.

The image of a gas masked Cranston resonated - a rather blatant, for the knowledgeable, yet elusive visual reference to Breaking Bad, which was rather humorous without the actual intention of being comical as a part of the film.

The audience is then left in the assumed capability of our protagonist- a military man (the child referred to previously). Aaron Taylor Johnson plays this role, and appears to have been truly ‘kicking ass’ in the gym since we last saw him on the big screen.

True to the nature of the ‘American Dino Disaster’ film narrative  the military hero saves the day, is stern yet compassionate, and will - in the true American way - sacrifice for his country which he will inevitably have the opportunity to do. Godzilla does not deviate from the usual convention and the story line does of course become pretty obvious early on. Though some attempt at foreshadowing is apparent “It’s not the end of the world”, not necessarily needed in this case. But, would one expect different from a film titled ‘Godzilla’.

When thinking about what role a certain amount of patriotism has in such narratives, I cannot help but refer to the very visual symbolism apparent- military men free falling to the ‘pit of hell’, red flares in hand against a serene back drop of a blue sky and pristine white clouds. Red, white, blue…What could that connote, one can only wonder?

With a large popcorn in hand, of course, I was expecting more moments in which some popcorn ends up making contact with the floor. However, there was little opportunity for one to jump, though it did unexpectedly occur, shockingly this was not by any sort of nuclear enhanced/ powered being, a seagull managed it. Yes, a seagull flying into a school bus window was too much for me to handle.

The acoustics in the cinema chosen to view this film did not do the monstrous call of the beast much justice, saying that, it was nevertheless quite powerful and though I was left in anticipation of Godzilla’s appearance for a bit too long. When he did appear it was quite obvious since previous Godzilla incarnations special effects have drastically evolved as well as the beasts sheer mass.

There were some stereotypical, but effective scenes that added some suspense to the narrative; though I must say it felt slightly Jurassic Park-esque at times- deathly silence, the sound of rain hammering on the tin car roof, the look of bewilderment and terror as ‘dino’ noises are heard in the distance slowly but surely approaching.

Overall, it was moderately entertaining but did not necessarily fulfill the expectations of the trailer and marketed promises.  Though with respect to the previous iterations, Godzilla 2014 visually exceeded its predecessors and for those true fans of Godzilla that would appreciate some vintage cinema beasts being brought back to life it would more than likely impress. For those looking for a rebooted narrative, that isn’t predictable- it may not necessarily be for you. Although if you've never seen a Godzilla film before this may be a good place to start.

Final Verdict: 3 out of 5

‘The greed of man demonstrates they don't know when a franchise is over.’

5, 4, 3, 2, 1...

I shall be captivating thy mind with titillating tales and (hopefully) somewhat entertaining reviews of films, as an avid cinema goer, film viewer and popcorn enthusiast, I will offer my personal insight, potentially very complimentary (I hope) but probs quite critical, of films both past and present...and in line with the promise and implications of the title, it shall be a Monday afternoon affair. 

"Men of few words are the best men." (W.S)...Maybe, I however am a woman of many- the best kind.