“They’re Trying To Make A Hero Out Of Me…”
Whilst Peter Berg’s rather excellent Patriots Day detailed from beginning to end the events of the 2013 Boston Marathon bombings with an added Mark Wahlberg, David Gordon Green’s latest, Stronger, takes a calculated and extensive look at the life of Jeff Bauman, whose life changing injuries during the bombings were subsequently the subject of a 2013 memoir written by himself and Bret Witter and now the basis of the screenplay for a movie led by the ever reliable presence of Jake Gyllenhaal as the famous and life-affirming Bostonian. Whilst Patriots Day was more focused on the action spectacle and a lightning fast editing pace, Stronger is a more low-key character piece which utilises the background of a terrifying event to understand one man’s journey through pain and suffering, and whilst Green’s latest is a picture seething with top-notch performances and likeable, empathetic characters, a bloated narrative over a needlessly extended two hour runtime does threaten to become tiresome at stages, but with Gyllenhaal on Oscar-worthy form, Stronger does manage to hold its’ own undeniably effectively.
Introducing the troubled, up and down relationship between Gyllenhaal’s Jeff Bauman and Orphan Black star Tatiana Maslany’s Erin Hursley from the outset, the movie swiftly moves onto the events of the bombing without ever specifically focusing on its’ reasoning or motive and instead directly leads the narrative from the point of view of Bauman who throughout the course of the movie recounts flashbacks of the event, with each progressively getting more detailed and bloody as the film trickles through his long-standing recovery in both a physical and mental capacity. With Gyllenhaal using the character of Bauman as a vessel for his already well established acting chops, utilising the direction of Green to balance moments of emotion fuelled drama with low-key physical movements and reactions, Stronger does have a variety of Oscar baity speeches which in other hands would possibly have derailed the movie’s ultimate goal, but with impressive supporting performances from the likes of Maslany and Miranda Richardson, who although in her portrayal of the expletive ridden, Bostonian parent figure did bring to mind the brilliance of Melissa Leo in The Fighter, Green’s movie is a straightforward character piece, but with such an interesting character at its’ centre, Stronger is more then fulfilling, if slightly forgettable.
Overall Score: 7/10
“I Am Choosing Between Trials and Tribulations. Do Stop Adding To Them…”
Sandwiched rather effectively between the likes of Their Finest and Christopher Nolan’s upcoming blockbuster, Dunkirk, Brian Cox takes on the challenge of portraying the iconic image of Winston Churchill this week in yet another 2017 release which focuses on a particular element and point of view regarding the historical and wholly barbaric events of the Second World War. Directed by Australian filmmaker Jonathan Teplitzky, perhaps best known for his work on the Colin Firth starring 2013 war drama, The Railway Man, Churchill attempts to bring to life the infamous story of the United Kingdom’s “greatest Briton”, a title unashamedly handed out upon the film’s pre-release trailer, and with the astute reputation of an actor such as Brian Cox in the leading role, stakes couldn’t be set higher for a cinematic interpretation of one of the most instantly recognisable faces of recent history. Whilst Churchill does feature some stellar acting form many of its leading stars, Teplitzky’s movie is unfortunately let down by a shallow and wholly uninteresting narrative, one which believes shouting and screaming is the best way to evoke a sense of drama, whilst the cinematic scale of such a film is so minimal, it really questions whether such a character exercise belongs on the big screen in the first place.
Taking place in 1944, on the eve of the infamous D-Day operations, Churchill unsurprisingly places Brian Cox’s titular conflicted Prime Minister at the heart of every single scene throughout the course of the movie, and whilst Cox seemingly manages to hit the nail on the head in terms of famous Churchill mannerisms, the dialogue and script too often let him down, with Teplitzky choosing to allow every line to be bellowed and screamed, akin to some awful teenage sitcom which just happens to be focused primarily during wartime. Subsequently, the decision to set most of proceedings within the confines of smokey, alcohol ridden low-key environments results in wondering why on earth Churchill belongs in the cinema in the first place, with it most likely to find success upon the medium of television not only due to its’ low-budge sensibility, but because on the face of it, there are a wide range of TV programmes that offer more reasons to be cinematic than that of Churchill. Although a sliding plot at the heart of it threatens to ruin the film entirely, Brian Cox does manage to pull you in and keep you entertained despite moments of utter silliness in terms of dialogue delivery, and whilst many will find a lack of action incredibly dull, ironically Churchill was a film at least I was never bored whilst watching, it just quite baffled me at times.