Fifty Shades of Grey

Anastasia Steele (Dakota Johnson) is an introvert literature student leading a normal life. She meets the handsome but mysterious Christian Grey (Jamie Dornan) who helps the young woman discover countless sexual pleasures. This erotic exploration takes a new turn when Anastasia finds out Christian’s darkest secrets. She starts wondering whether she should keep seeing the billionaire.

Fifty Shades of Grey, directed by Sam Taylor-Johnson and relying on the eponymous novel written by E.L. James, is an uninspired cinematographic production. The film is served by stereotyped characters, a bland relationship, ridiculously poor dialogues, and a nonexistent plot. Even Jamie Dornan, who has proven his talents in the past, looks bored and becomes expressionless. The actor does not convince with his insipid interpretation of the supposedly tormented Mr Grey. Christian becomes quickly annoying in the film. More importantly, the expected sexual scenes are completely laughable. Showing boobs on the screen does not make a film look sexually adventurous or sensually provoking. Eroticism is invisible in this purely commercially-driven cinematographic product. Worst, the chemistry between the two actors is not obvious. Fifty Shades of Grey is a terrible film in which everything looks and feels fake and superficial.

The only positive aspect of Fifty Shades of Grey is Dakota Johnson. The actress brings some freshness to the film. She manages to shine amongst the worthlessness characterising the film. She succeeds in delivering an authentic interpretation of Anastasia, which encourages viewers to get attached to the protagonist. Dakota Johnson is the unique asset of this film and deserves much better than the dull production that is Fifty Shades of Grey.

In brief, despite the good performance of Dakota Johnson, Fifty Shades of Grey is a mediocre film deprived of any storyline, which is not surprising knowing the emptiness of the book.

 

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Escobar: Paradise Lost

Nick Brady (Josh Hutcherson) is a young Canadian surfer who starts a new life in Colombia with his brother, Dylan (Brady Corbet). Nick enjoys the peaceful and irresistible Colombian beaches when he meets and instantaneously falls in love with the gorgeous Maria (Claudia Traisac). This woman changes his life forever as Maria turns out to be Pablo Escobar’s niece. Everybody has heard of Escobar, here played by Benicio Del Toro. But who actually knows the man behind the name? Including the real-life Colombian drug dealer, who introduced cocaine in the United States, to a fictional romantic thriller, Escobar: Paradise Lost seeks to show the true face of this ambiguous man.

Although the film, directed by Andrea Di Stefano, is not a biopic, it manages to offer a realistic and complex Pablo Escobar. The famous criminal is adroitly portrayed as a two-faced man. On the one hand, Pablo is a loving, caring, warmhearted and affectionate family man who spends his time playing with his children. On the other hand, Escobar is a senseless, ruthless manipulative and vicious drug dealer who does not hesitate to kill his closest friends to insure his own interests. Benicio Del Toro’s interpretation of this enigmatic and fascinating man with multiple facets is purely outstanding. He brilliantly manages to create conflicting feelings towards Pablo Escobar. Even within the film, the criminal unleashes passions between the Colombian government condemning his immoral actions and the population celebrating the man who generously helps them socially and economically. It is quite disconcerting to see such bipolar behaviour. Nevertheless, despite this apparent impartial representation of the drug dealer, Escobar: Paradise Lost seems to take a firm stance against Pablo Escobar who appears to be a wily and dangerous man.

Also, Escobar: Paradise Lost knows how to effectively sell tension, anxiety and surprise. The final twist is truly unexpected, elevating therefore the film’s quality status. Josh Hutcherson’s performance is quite convincing. His confusion and terror are really perceptible and seriously communicative. The end is breathtaking and captivating. Nick, who is completely terrified, tries to escape Escobar’s hit men but his chances of surviving are rather thin. Even though the conclusion can easily be guessed, it is impossible not to wish for a happy ending.

In brief, Escobar: Paradise Lost, led by two great actors, is an amazing, thrilling and captivating film displaying the complexity of the most notorious drug dealer of the twentieth century.

 

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Under the Skin

An enigmatic woman, played by Scarlett Johansson, spends her time driving her van around Scotland. She occasionally stops to talk to men and seduce them. After convincing her male preys to get in the vehicle, she brings them home where they mysteriously vanish into a dark liquid. Inside, their bodies disappear. Only their skins remain floating. Whereas everything goes as planned, the young alien, who increasingly feels human, decides to let one of her targets escape.

Saying Under the Skin is an exceptional masterpiece barely embraces the beauty and intelligence displayed by this cinematic jewel. Jonathan Glazer’s work is stunning and fascinating. This film reconnects with science fiction’s roots, seriously scorning these empty, pointless and superficial Hollywood productions that dare present themselves as sci-fi. Under the Skin is magnificent and dazzling. The use of non-actors, spontaneous dialogues and hidden cameras mixed with staged and scripted scenes tend to blur the lines between reality and fantasy, brilliantly reflecting the core principle of science fiction. Scenes are slow to let viewers appreciate the environment and accompany the young alien on her journey. Silences are powerful and make the film even more captivating. Moreover, Under the Skin bravely shows naked bodies of both women and men. Nevertheless, nudity, here, is not displayed à la Game of Thrones, in other words, uselessly. This nudity really serves the film’s ambitions. The skin is the only thing that ties her to her humanity. The moment when she observes herself in the mirror is exquisite and crucial to see how she associates her body to her emergent humanity.

Under the Skin is a complex cinematic experience as it deeply challenges the audience. Viewers are tested and shaken. The main message is never clear, making the storyline smart and fabulous. Far from giving all the answers to viewers, Under the Skin plays with different meanings and symbols. The audience has to engage with the film’s polysemy. Every interpretation seems possible. Whilst some of us will see the anti-patriarchal stance taken by the film, others will think it denounces today’s society privileging appearances over minds.

Overall, Under the Skin is a hypnotic and unique film which does not let anyone indifferent. Without exaggerating, this film is pure art.

 

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Very Good Girls

Lilly Berger (Dakota Fanning) and Gerry (Elizabeth Olsen) are best friends. Whilst spending their last summer together before going to university, they decide it is time for them to lose their virginity. This mission becomes quite difficult they both fall in love with the same mysterious guy who enjoys photographing random people, David Avery (Boyd Holbrook). The choice is quickly made by the young who develops a fascination for Lilly. The birth of a romantic relationship between David and Lilly forces the latter to lie to Gerry, putting therefore their precious friendship into jeopardy for the first time.

Very Good Girls, directed by Naomi Foner, is a disappointing and predictable film which dramatically undermines the image of female teenagers. To begin with, the characters are uninteresting, superficial and totally empty. Concerning the storyline, not only is it quite boring and cliché, but it also degrades young women adults as they are primarily and exclusively portrayed through their sexuality. Indeed, even if it is always positively interesting to see young women exploring their sexual identity and interest, Lilly, for example, appears to have neither professional ambitions, nor dreams. Her only aim in life, as told by the film, consists in losing her virginity. As a result, Lilly is a boring character and Dakota Fanning’s uninspired interpretation clearly does not help. It is actually hard to understand why David falls in love with her. Lilly is a banal girl who is only driven by her sexual curiosity. Moreover, the title of the film, Very Good Girls, can imply the shameful idea that girls are valuable only when they are virgins. In other words, it indirectly stigmatises young women who are sexually active as being bad, therefore not respectable.

The only good aspect of Very Good Girls is the friendship between Lilly and Gerry. The support they give each other is wonderful. However, their relationship is unfortunately superficially and stereotypically developed. Why do they have to fight over a guy? This battle to get David is so cliché. The film is so much better when the focus is on the link uniting Lilly and Gerry. Indeed, it is far more interesting to see them helping and supporting each other going through hard time rather than trying to attract male attention. Furthermore, Gerry is definitely the most touching and complex character. Whilst she appears strong, she actually seems to have some serious mental disorders. Very Good Girls would have gained some value from developing Gerry’s issues further.

Overall, Very Good Girls is a mediocre film which shamefully and superficially displays young women who exclusively define themselves through their sexuality.

 

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Whiplash

Andrew Neimann (Miles Teller) is playing drums since he is a child. His talent and passion for jazz have brought him to the prestigious Shaffer Conservatory music school. In this music conservatory , Andrew meets the demanding instructor, Fletcher (J.K. Simmons), who accepts to give him a chance to join his band class. But, Neimann quickly realises that to be a permanent member of this band he will have to painfully go beyond his limits.

Whiplash, directed by Damien Chazelle, is an aesthetically superb film questioning viewers about the amount of efforts they are ready to provide in order to achieve success. As for Fletcher, played by a phenomenal J.K. Simmons, success necessitates a great and deep commitment to work. He does not hesitate to tyrannise his students to make them progress. He is extremely tough to get the best results ever, go beyond mediocrity and reach excellence. However, his methods tend to be abusive, especially on the psychological level. Andrew is seen as progressing and improving but his passion for drums increasingly disappears to leave room for strict performance, stress and suffering. By displaying the complexity of this issue, Whiplash seems to indicate that even if being tough and demanding is beneficial, such attitude should be moderate to avoid harming others and ourselves.

Not only are Fletcher and his methods criticised, the main character, Andrew, is also shown as a complex person in Whiplash. Pathologically ambitious and competitive he constantly feels the need to dominate others and act as if he was superior to everybody else. Andrew is portrayed as an arrogant young man, in lack of actual recognition, who enjoys reminding people he belongs to an exclusive social elite. Fletcher and Andrew are actually very similar. They are both obsessively driven by music and they both seek a prestigious status in the musical field. This film is far from presenting a black and white division between the instructor and the student. Instead of being depicted as a healthy man, Andrew appears to have an worryingly extreme personality. This characteristic gives sense to the last scene. Only someone as obsessed and ambitious as Andrew was capable of going back on stage after Fletcher royally humiliated him.

In brief, Whiplash is an astonishing film which reveals the damaging and harmful aspects of what any ambitious person dreams of: success.

 

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American Sniper

Chris Kyle, played by Bradley Cooper, is known as the deadliest sniper in American military history, and is considered by many as a hero who saved multiple lives during the war in Iraq. American Sniper tells the story of this man who during ten years sacrificed his family life and mental health to serve his country.

American Sniper, directed by Clint Eastwood and led by a talented cast, is visually beautiful. However, the film is pure American propaganda justifying and glorifying the war in Iraq. By uncritically conveying the version of Chris Kyle, Clint Eastwood offers a biased, and almost partisan, view of the Iraq war. This directorial orientation is completely IRRESPONSIBLE, especially in the current geopolitical context. It is also intellectually dishonest to present Iraq war as a morally and legally justifiable conflict, when it is now common knowledge that this war was completely illegitimate. More importantly, the way Iraqis are portrayed in American Sniper is more than shocking. None of the Iraqi adults in the film is positively represented. They are all stereotypically depicted as either barbaric terrorists, or untrustworthy savages. In contrast, American soldiers are represented as heroes acting in a civilised way, even during war. This binary view can be seen in the scene where American soldiers discover the mutilated bodies and heads of other military men. Showing this moment would have been fine if the abuses committed by Americans had also been mentioned in the film. But as Clint Eastwood chooses to ignore this aspect of the war, it shamefully and wrongly suggests that Arabs are the only ones acting in a barbaric way with the enemy. This is revolting to see that the Middle East and its inhabitants remain, in 2015, represented in an orientalist way.

To be clear, criticism here is not oriented towards Kyle’s actions, although, his decisions and beliefs are questionable and debatable. Instead, the critique focuses on the way Iraq war and Iraqis are depicted in the film as orientalist prejudices legitimise intolerant ideologies. Indeed, by negatively representing Iraqis, American Sniper promotes worldviews which encourage the hatred of Arabs and Muslims. This is the last thing we need right now. Therefore, as Clint Eastwood has not done an honest job, it is crucial that viewers go watch this film with a critical mind. It is our responsibility, whilst watching this piece of propaganda, to remember the lies linked to the Iraq war, the Iraqis who got tortured by American soldiers and all the innocent civilians who were killed by the American army.

In brief, American Sniper is a disappointing film distorting reality by grossly simplifying a conflict which was way more complex.

 

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If I Stay

Mia Hall (Chloë Grace Moretz) is a classical music lover and a talented player, which is surprising as she is the daughter of Kat (Mireille Enos) and Denny Hall (Joshua Leonard) who deeply adore rock ‘n’ roll. Whereas this atypical family leads a joyful life, a terrible car accident is about to change everything. Whilst in the coma, Mia has to make a Cornelian choice. Either she decides to live and stay with her best friend Kim (Liana Liberato), her boyfriend Adam (Jamie Blackley) and her grandfather (Stacy Keach), or she chooses to join her parents and brother Teddy (Jakob Davies) in the realm of death.

If I Stay, directed by R.J. Cutler is surprisingly good. Indeed, although the film revolves around the love story between Mia and Adam, its main topic turns out to be Mia’s decision. Her choice is never clear. And whilst viewers are encouraged to guess her future decision, they are highly urged, throughout the different narrative twists, to think about their own case. It is impossible not to ask ourselves what we would do if such tragic events were to happen to us. If I Stay is surely not a happy film but it perfectly masters its subject. Everything is done to deeply move viewers, especially when the parents and Teddy are announced dead. It challenges viewers by asking them the very same question as the one Mia is faced with: what is the purpose of life? Why do we keep living? There is not only one answer. But the film suggests that the main and first reason pushing humans to live seems to be their family. We live for our relatives. When Mia loses her parents and brother, she just wants to die. Nothing else matters for her. And although she loves Kim and Adam very much, her family is and will always be more important.

Also, the quality of If I Stay is greatly due to its main character, Mia. She is really different from other heroines. She is ambitious and knows what she wants. She chooses her passion and her professional dreams even if she knows she might lose her boyfriend. It is even her musical dreams which save her. Indeed, Mia chooses life over death when she knows she has been accepted in Julliard. Even if Adam is important for her, he is not the reason why she breathes. No, she lives for classical music and for her cello. Mia appears as a true feminist model as she proves she does not need a guy to exist. It is important to display such female characters in films to show little girls and teenagers that yes, they can make it on their own. Positive role models, like Mia, are important in our society. Let us encourage girls to be more like Mia, rather than Bella Swan who dreadfully accepts to sacrifice her life, and therefore a huge part of her identity, for a man.

Overall, If I Stay, led by a strong and inspiring female character, is an excellent and touching film challenging viewers with one simple question: what are you living for?

 

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Birdman or (The Unexpected Virtue of Ignorance)

Riggan Thomson (Michael Keaton) used to be a blockbuster superstar. But after he stopped playing the role of Birdman, a cinematic superhero passionately adored by fans coming from all around the world, Riggan, who is afraid of being forgotten, decides to make his own Broadway play. By taking this new path, Riggan wants to prove to the public and especially to himself, that he still exists. Birdman tells the story of a man who fights against his oppressive and destructive ego constantly pushing him to be under the spotlight.

Birdman, directed by Alejandro González Iñárritu, is a splendid and superb film which shows those who experienced fame seriously struggling to leave their notoriety behind. Riggan is unable to live in anonymity. He needs the recognition of the public to feel alive. The only idea of a simple life away from the stage is impossible for him. He thinks that the only purpose of life consists in being known. However, as his daughter, Sam (Emma Stone) perfectly explains, this quest for celebrity is useless because at the end, the world forgets you. The most important is to be remembered by your relatives and friends. The film glorifies the simple but beautiful idea that human beings are not important in the universe. As everything else, we are created to disappear and be forgotten. By conveying this message, Birdman promotes humbleness, which seems more than crucial today as we live in a society where people are increasingly pushed to attract media and public attention, by all means, even the dumbest ones, to exist in society. This film encourages people to think about what should be important in life. Whereas Riggan dedicates his existence to stay under the spotlight, it is pretty clear that such devotion is far from leading to happiness. This path only brings frustration and misery.

Also, Birdman throws light on the cultural superiority of theatre over cinema. This point is particularly illustrated in the conversation between Riggan and Tabitha Dickinson (Lindsay Duncan), reviewer for The New York Times. Indeed, Tabitha, who sees theatre as a prestigious and noble form of art, expresses her doubts, and even her contempt, concerning Riggan’s ambitions on Broadway. As for the critic, the colonisation of theatrical stages by those working in the film industry corrupts the very artistic essence of theatre. Even if the film tends to take its distance from this traditional view on arts, it nevertheless can be considered as an ode to theatrical plays and performances. This tribute can especially be seen through the use of minimal and closed locations. The majority of the action takes place on the stage or behind it.

In brief, Birdman, led by a surprisingly amazing Michael Keaton, is an exquisite cinematic creation which celebrates humility whilst taking a critical and original look at the irrational and pathetic quest of every human being in our society for recognition and fame.

 

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Guardians of the Galaxy

Peter Quill (Chris Pratt) also known as Star Lord and inhabitant of Earth, leads a criminal life through the entire galaxy. His life become seriously threatened after he finds an orb. Indeed, the Machiavellian Ronan the Accuser (Lee Pace) sent his men to chase Quill in order to get the powerful orb. On his path to save his own life, Peter meets his future companions: Gamora (Zoe Saldana), Drax (Dave Bautista), Groot (Vin Diesel) and Rocket (Bradley Cooper). After some struggle to get together, the five acolytes have to collaborate together when Ronan gets the orb to destroy the whole universe. They become intergalactic heroes, known as the Guardians of the Galaxy.

Guardians of the Galaxy, directed by James Gunn, is a delightful film which perfectly completes its entertaining mission. Although, the film revolves around the comedy tied to the characters and situations, it also conveys an important message about those defined as socially deviant. The film promotes the idea that people who commit minor crimes deserve, in some cases, a second chance. This is the case of Quill who, despite his criminal actions, is portrayed as a man who is ready to die to save the life of someone he only met some days ago. Guardians of the Galaxy humanises outlaws which often get demonised and considered as serious threats in our society. This message echoes real-life issues and gives the film its superior and astonishing quality. For once, the heroes featuring in the film are not completely heroes. They are far from being the good guys to begin with. On the contrary, they rather appear selfish and ruthless. They are seen by the entire galaxy as losers or threats which need to be excluded and isolated from society. And yet, they turn out to be the great saviours of the whole universe. These outlaws are in fact good people, ready to sacrifice their own lives to save a galaxy which does everything to eliminate them. By positively depicting those usually rejected in society, not only does Guardians of the Galaxy avoid simplistic representations of criminals as being incapable of changing, it also challenges dominant myths and beliefs.

Furthermore, the excellent sense of humour displayed in the film, through perfectly measured jokes, clearly contributes to the popular success of Guardians of the Galaxy. On this aspect, two characters stand out from the rest: Groot and Rocket. Whilst the former provokes laugh by his only line (“I am Groot”), reminding of a certain Hodor, the latter brings some comical force to the film with his sarcasm. No need to add that the friendship between these two protagonists manages to touch viewers. Also, the film is greatly enjoyable to watch for the popular culture references.

In brief, Guardians of the Galaxy is an entertaining and funny film celebrating the bravery and friendship of five outlaws seen as losers by others.

 

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The Theory of Everything

Before becoming one of the most known physicists, Stephen Hawking, here played by Eddie Redmayne, spent his time studying in Cambridge university where he met his future wife, Jane Wilde (Felicity Jones). Whilst Stephen had to find a subject to write about for his thesis, he got diagnosed with a motor neuron disease and was given two years to live. But Stephen managed to go beyond these pessimistic predictions and went through the different and difficult challenges with the precious help of his wife. The prodigious man has also succeeded in becoming influential in the scientific field by elaborating diverse theories about time and black holes.

The Theory of Everything, directed by James Marsh, is a great and interesting biopic as it focuses on the everyday life of the famous scientist, Stephen Hawking. Instead of showing the different scientific prowess of the internationally recognised physicist, the film throws light on the private life of the remarkable man. And although the emphasis is put on the intimacy of the public man, the film neatly avoids any uncomfortable voyeurism. The scientist and his family are depicted in a sympathetic and way. The film is rather kindly towards Stephen Hawking and his relatives. A case in point concerns Stephen’s illness. Whereas the terrible aspects of his disease, are clearly displayed on the screen, his dignity is never undermined in the film. Indeed, even though Stephen is shown incapable of walking, moving or speaking, he appears intellectually efficient and brilliant. The Theory of Everything glorifies the mind over the body which is pictured as incompetent and failing. Intellectual capacities are presented as being more powerful than the physical abilities. This is illustrated when Stephen asks his doctor if the disease will affect his brain. When he is told it will not have any impact on his intellect, Stephen seems reassured. The joy of life that the scientist has and which is shown in the film depends on his intact and exceptional mental activity. Even if Stephen is portrayed as physically weak and dependent on others, he is depicted as a smart and humorous man who continues to see the life in the brightest way. The physicist turns out to be a true example, not only because he is very intelligent, but also because he brilliantly overcomes each steps of his disease, remaining a happy, lovable and inspiring man.

Also, The Theory of Everything celebrates the people who have helped Stephen Hawking during his life, such as his wife, Jane, Jonathan Hellyer Jones (Charlie Cox) and Elaine Mason (Maxine Peake). Not only are all these people favourably portrayed, they also appear crucial to the well-being of Stephen who always accepts their help. The focus is particularly put on Jane Hawking. She is depicted as a devoted woman who chooses not to give up on the man she loves. Her feelings towards Stephen are truly touching. It is made clear in the film that Jane will do anything and everything to support her husband, Stephen, in his everyday fight against the disease. She never does it out of pity, she acts this way because she loves him. She even sacrifices a prestigious future to look after Stephen and to encourage him in his scientific work. Jane can really be considered as a heroine. Without her help, Stephen might not have been the strong man he has been, and maybe the famously recognised scientist would have never existed.

Overall, The Theory of Everything is a fabulous film showing the ordinary life of an extraordinary man, who was lucky enough to benefit from the exceptional help from outstanding people.

 

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