Review: Django Unchained

Quentin Tarantino is never afraid to touch upon uneasy subject matters, and in his first film since 2009 blockbuster Inglorious Basterds he is at it again with slavery-based epic Danjo Unchained.

170 minutes of pure Tarantino-ness. Described by many as his most "straightforward film to date", Django Unchained may not have the twists and turns of a Pulp Fiction or Jackie Brown, but it will leave you shocked, bewildered and laughing out load in your seat like we have to come to expect from the American's films.

The story revolves around former slave turned bounty hunter Django (Jamie Foxx), who with the help of his owner turned bounty hunting partner Dr. King Schultz (Christoph Waltz), sets out to rescue his wife Broomhilda (Kerry Washington) from evil plantation owner Calvin Candie (Leanardo DiCaprio). As you would expect, this does not go according to plan and like most Tarantino films all hell breaks loose in extremely violent fashion.

Drawn out, over-the-top and ridiculously violent, but Tarantino always seems to get away with it. Some critics question Tarantino's style, but one thing that can be universally agreed on is that he gets the best out of his cast. Christoph Waltz puts in another Oscar-worthy performance as the German slave sympathising bounty hunter. Like in Inglorious Basterds Waltz portrays an incredibly charming and sophisticated character, but when he needs to be he has an incredibly sinister yet somehow humorous side to him that is perfectly delivered. Jamie Fox leads the movie well, putting in a strong performance, albeit he is out-shone by the marvellous Waltz for the first half of the film. Leonardo DiCaprio puts in a sterling performance as the villain slaveholder who owns the mammoth slave plantation Candieland. It was certainly a different kind of role for DiCaprio, but his blend of charm and ferociousness worked extremely well.

Despite its serious subject matter, humour is never far behind. The Ku Klux Klan scene involving a cameo appearance from Jonah Hill will be something that is remembered for a long time. Samuel L. Jackson is superb as the old timer slave (Stephen) who works at the Candieland plantation. Jackson's first appearance on screen is a memorial one, as he shows of his resentment towards free slave Django in an hilarious interaction with his boss Calvin Candie. One disappointment over cast selection is that of Tarantino himself. His persistence in making cameo appearences in his films is baffling. The outrageously poor Australian accent he tries to deliver will leave you cringing all the way home.

This will not be for everyone's liking, but if you are a die hard Tarantino fan you will not be left disappointed. The film falls short of the incredibly outrageous Inglorious Basterds and the classics of Pulp Fiction and Reservoir Dogs, but it is another fine piece of cinema by the a director never afraid to push the boundaries of cinema.

8/10

Review: Les Misérables

Kings Speech director Tom Hooper took on the mammoth task of directing the movie adaption of the world famous musical Les Misérables, which is based on Victor Hugo’s 1862 novel of the same name.

 For those who may not be familiar with the story of Les Misérables, it is a tale set in 19^th century France that follows a man named Jean Valjean (Hugh Jackman) who was imprisoned for 19 years for stealing a loath of bread. After being released on parole by the prison guard Javert (Russell Crowe), he faced a life of hardship and shame for his tainted reputation as a thief. Valjean was taken in by a bishop for the night after spotting him walking the streets as no one would give him shelter or work. In the night Valijean took off with the bishops silver but was caught and taken back to the bishop who confirmed to the police that Valjean in fact was given the silver as a gift, offering him a second chance. The bishops generosity saw Valijean vow to break parole and start a new life. Eight years later Valjean had become a successful businessman and mayor of Montreuil-sur-Mer. However, on stumbling upon one of his former employees Fantine (Anne Hathaway), who was very ill and on the verge of arrest, Valjean vowed to look after her daughter Cosette (Isabelle Allen/Amanda Seyfried). Despite taking in Cosette and making a new life for himself, Valijean was always fighting his past.

Although the performances of Hugh Jackman and Anne Hathaway have deservedly stolen the headlines, this is a film full of top class performances throughout. Hathaway’s highly anticipated rendition of ‘I Dreamed A Dream’ was as good as everyone hoped it would be. Despite being only on screen for fifteen minutes, Hathaway has gained nomination after nomination during the awards season and rightly so. Her incredibly powerful performance captured the struggles of Fantine superbly. Jackman’s performance as leading man Valjean is commendable and like Hathaway he has rightly been nominated for all the big awards. His performance of ‘Valjean’s Soliloquy’ is captivatingly sinister and brilliantly shot inside the church as he vows to change his life.

One man who should not escape praise is that of Eddie Redmayne who is excellent as Marius. The raw emotion he portrayed in his performance of ‘Empty Chairs And Empty Tables’ is only matched by Hathaway’s ‘I Dreamed A Dream’. Hooper used the power of the close-up to great effect for both performances, so the audience really got to feel the emotions the characters were expressing in those moments. Sacha Baron Cohen and Helena Bonham Carter also linked up very well as the scheming Thénardiers. Bonham Carter took a backseat to Cohen's skillful comedic performance, however the blend worked excellently despite Cohen's slightly questionable French accent.  

Russell Crowe's singing voice is one of few major criticisms that has been made about the film. Although Crowe is the weakest vocalist, his stage presence and manner sees him get away with it. As a character Javert is not meant to be liked. His ruggedness, both vocally and physically, helps turn this disadvantage in to a positive.

Tom Hooper has kicked the year of cinema off with an all mighty bang. Powerful, captivating and cinematically beautiful. The film deserves all the praise it gets.

 9/10

Review: Quartet

Dustin Hoffman got behind the camera to direct the mature, quirky comedy drama 'Quartet', starring Maggie Smith, Michael Gambon and Billy Connolly.

The film revolves around a retirement home where retired musicians go to spend the rest of their days. However they face a battle each year to keep the home open and perform an annual gala to raise the funds. The home gets a surprise new resident in the name of Jean Horton (Maggie Smith), the once world famous opera singer. Her arrival unsettles a few feathers with her diva ways and the reunion with former husband Reignald Paget (Tom Courtenay) who also happens to be a resident at the home. The gala hits problems and with ticket sales slow it is put forward that the famous opera quartet of Paget, Bond, Cissy Robson (Pauline Collins) and Horton perform their famous musical number Verdi’s ‘Rigoletto’ . Troubled relationships and problems forgetting the past mean this proposed reunion is not, at least at first, an harmonious prospect for all.

The charismatic Wilf Bond, played by the excellent Billy Connolly, brings a cheeky but harmless humour to the movie with sexual innuendos galore throughout. Michael Gambon is superb as the arrogant director of the gala and fellow resident, Cederic Livingston, a pain in the backside to all who live at the home. Cissy Robison is the sweetheart of the house, but is clearly starting to lose her memory at a rapid rate, whilst Reignald Paget plays the more serious, yet fragile, member of the quartet. Clearly still hurting from his relationship with Horton, Paget learns to let go of the past, as does Horton herself, who finds it especially hard to accept her status as a retiree.

This is not your typical retirement home and nor is it your typical mature comedy. It may be an old folks home, but its residents still exude youthful energy and charisma that is contagious. The movie is a charming, yet quirky, piece of cinema that will surprise you. You will enjoy it more than you think. I certainly did.

7/10.