Tag Archives: Daniel Brühl

Entebbe (2018)

16 Monday Jul 2018

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aka 7 Days in Entebbe

D: José Padilha / 107m

Cast: Daniel Brühl, Rosamund Pike, Eddie Marsan, Lior Ashkenazi, Denis Ménochet, Nonso Anozie, Ben Schnetzer, Mark Ivanir, Angel Bonnani, Zina Zinchenko, Amir Khoury

On 27 June 1976, Air France Flight 139 from Tel Aviv to Paris was hijacked following a stopover in Athens. The hijackers – two members of the Popular Front for the Liberation of Palestine – External Operations, and two members of the German Revolutionary Cells (Brühl, Pike) – diverted the flight to Benghazi in Libya for re-fueling before heading to their planned destination of Entebbe Airport in Uganda. Once there, the passengers and crew were herded into the transit hall of an out-of-use terminal, where eventually, the Jewish passengers were separated from the rest. With the hijackers and their associates on the ground in Entebbe receiving support from Ugandan leader Idi Amin (Anozie), they made their demands to the Israeli government, then led by Itzhak Rabin (Ashkenazi): $5 million for the release of the plane, and the release of fifty-three Palestinian and Pro-Palestinian militants. With Israel having a no negotiation with terrorists policy, they made it seem that they were willing to break with their standard protocol, but while the hijackers began to feel that their mission was going to succeed, the Israelis actually had other plans…

With three previous movies about the hijacking of Air France Flight 139 already released, and all of them within a year of the actual event, the first question to ask about Entebbe is, why now? (A second might be, and does it retain any relevance?) The answer to the first question remains unclear, as the movie, freely adapted by Gregory Burke from the book Operation Thunderbolt (2015) by Saul David, has a tendency to flirt with the truth for dramatic purposes, and in doing so, it manages to dampen the drama by lacking the necessary focus to keep viewers on the edge of their seats. The second question is easier to answer: it doesn’t, and for much the same reason as the answer to the first question. With the script trying to cover too many bases – the hijackers, the Israeli government, the hostages, Idi Amin’s need for personal aggrandisement, the raid that ended the whole thing, and a dancer taking part in a performance of the traditional Jewish song Echad Mi Yodea – the movie never settles on any one aspect for long, and never maintains a sense of the terror and danger that the hostages must have experienced.

It’s a curiously bland affair, with plenty of gun-waving by Pike, but more navel-gazing from Brühl than is necessary, and lots of scenes where the enormity of the situation is trotted out for any slow-off-the-mark viewers – and with increasing emphasis. Most of the characters are forgettable, even the hijackers, as they’re treated more as functioning stereotypes than real people who existed in a real environment and experienced real emotions (much of this by the book). Pike’s angry revolutionary pops a lot of pills but we never learn the reason why, while Brühl’s softly softly bookseller seems out of place entirely. Ashkenazi is a tortured Rabin, Méncohet is the flight engineer who’s scared of no one, and Schnetzer gets his own journey as one of the Israeli commandos who take part in the raid (though why we need his journey is another question the script can’t answer). Only the ever-reliable Marsan, as hawkish Israeli Minister of Defence Shimon Peres, delivers a credible performance, and that’s against the odds, as Burke’s script and Padilha’s direction continually combine to undermine the cast in their efforts. Worst of all though, is the raid itself. After all the build-up, and all the foreshadowing, it’s shot using techniques and a style that wouldn’t have looked out of place in any of the movies made back in the wake of the hijacking.

Rating: 5/10 – handled with a dull reluctance to make it the thriller it should be, Entebbe lacks energy, pace, and any conviction in the way that it tells its story; fascinating only for the way in which it does a disservice to the event itself, it’s a movie that wastes so many opportunities, it’s as if the material itself has been hijacked – but no one told the producers.

The Cloverfield Paradox (2018)

06 Tuesday Feb 2018

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D: Julius Onah / 102m

Cast: Daniel Brühl, Elizabeth Debicki, Aksel Hennie, Gugu Mbatha-Raw, Chris O’Dowd, John Ortiz, David Oyelowo, Ziyi Zhang, Roger Davies, Clover Nee

Originally titled God Particle and delayed twice before Netflix picked it up, The Cloverfield Paradox is the third in the series that began with Cloverfield (2008 – is it really that long ago?), and continued with 10 Cloverfield Lane (2016). A prequel to both movies in that it provides a partial explanation for the existence of the Cloverfield monster, this latest instalment has neither the strong visual aesthetic of the first movie, nor the strong storyline and characters of the second. It does have a great cast, but this time round the story isn’t there, and the muddled narrative that unfolds is chock-full of dramatic clichés, characters you’re never close to caring about (even Mbatha-Raw’s nominal heroine, Ava), and the kind of cod-science that sounds good unless you listen to what’s being said too closely. In essence, it’s a big let-down, both as a sci-fi movie, and as another entry in the Cloverfield franchise. And that shouldn’t be much of a surprise. Oren Uziel’s screenplay was originally a spec script that was picked up by J.J. Abrams’ Bad Robot production company back in 2012, and which had nothing to do with the Cloverfield universe. Until production began in 2016…

The story is a rote one that contains elements of Alien (1979), Event Horizon (1997), and any other sci-fi movie set on a space ship or station where the crew has to fight off an unseen and/or murderous presence. It also splits the narrative between scenes on the space station that see the plucky crew trying to reverse the effects of an infinite energy experiment that has flung them into an alternate reality, and scenes involving Ava’s doctor husband (Davies) back on Earth as the Cloverfield monster makes its presence felt. Each provides a respite from the other but only for a short while, and by the halfway mark, a complete respite from the whole silly set up is required. As the script inevitably picks off its space station characters one by one, the manner in which they’re dispatched ranges from the banal to the overly thought out set piece and back again. The cause of most of these deaths is concerning as Uziel’s script seems unable to explain exactly what is going on, and how, and why. A lot happens just because the characters are in a weird situation, and it seems fitting to throw weird stuff at them – a severed arm, a crew member trapped in a wall space, a condensation issue becoming a flood – but none of it makes any coherent sense.

As a result, the very talented cast have to work very, very hard to make the most of the script’s weaknesses and Onah’s by-the-numbers direction. Mbatha-Raw fares better than most, but then she’s playing the one character who has anything like a story arc. Ava has a tragic past, and the alternate reality she finds herself in gives her a chance to change things and alleviate her guilt. Against this, O’Dowd brings some necessary humour to the mix, while everyone else offers tepid support, from Oyelowo’s nondescript mission commander to Brühl’s German (and possibly villainous) scientist – #HollywoodStillSoRacist anyone? The movie also betrays its modest production values, with several scenes, especially those involving corridors on the space station, looking decidedly cheap. All in all, it’s a movie that offers nothing new to the franchise, or to viewers who might be intrigued enough to take a chance on watching it without having seen its predecessors. With the good possibility that a fourth movie in the Cloverfield universe will be with us in the next eighteen months, let’s hope that it’s not another spec script given a Cloverfield once-over, and instead an original story that fits more neatly into the world Bad Robot created ten years ago.

Rating: 4/10 – stock characters, stock situations, a garbled political crisis on Earth, and much more besides that doesn’t work, The Cloverfield Paradox is let down by its confusing screenplay, and by Onah’s inability to make much of it interesting; a jarring experience given the quality of its predecessors, the real paradox here isn’t why it was made, but how anyone could have thought it was any good.

Monthly Roundup – July 2017

01 Tuesday Aug 2017

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The Hatton Garden Job (2017) / D: Ronnie Thompson / 93m

Cast: Matthew Goode, Phil Daniels, Larry Lamb, Clive Russell, David Calder, Joely Richardson, Stephen Moyer, Mark Harris, Jack Doolan

Rating: 6/10 – a group of aging ex-cons decide to rob an underground safe deposit facility in London’s Hatton Garden, but find that too many interested parties want in on the job, and the proceeds; based on the actual robbery that occurred in April 2015, The Hatton Garden Job is a light-hearted, and often lightweight version of actual events, but gets by thanks to some winning performances, a sense that it’s all too, too implausible, and a broad sense of humour that suits the material well enough despite its low budget origins.

The Zookeeper’s Wife (2017) / D: Niki Caro / 126m

Cast: Jessica Chastain, Johan Heldenbergh, Daniel Brühl, Michael McElhatton, Timothy Radford, Val Maloku, Efrat Dor, Iddo Goldberg, Shira Haas

Rating: 4/10 – at the outbreak of World War II, the Warsaw Zoo, run by Antonina and Jan Zabinski (Chastain, Heldenbergh), is commandeered by the Nazis, but it becomes a hiding place for Jews, and an even more dangerous place without its animals; a true story undone by telling it across the whole course of the war, The Zookeeper’s Wife is a turgid, painfully dull movie that is only sporadically interesting and which wastes the talents of its cast by making their characters’ plight seem like its been lifted from an unsuccessful soap opera.

Day of the Mummy (2014) / D: Johnny Tabor / 77m

Cast: Danny Glover, William McNamara, Andrea Monier, Eric Young, Philip Marlatt, Michael Cortez, Brandon deSpain

Rating: 4/10 – an archaeological trip into the Egyptian desert in search of a lost tomb sees its members at the mercy of a mummy, while they try and find a sacred stone said to be worth millions; a found-footage movie that like most doesn’t know how to make the most of the format, Day of the Mummy stretches its audience’s patience at every turn, and literally reduces Glover’s role to the bottom left hand corner of the screen, something that could be construed as “video-phoning” in his performance.

Security (2017) / D: Alain Desrochers / 92m

Cast: Antonio Banderas, Ben Kingsley, Liam McIntyre, Gabriella Wright, Chad Lindberg, Cung Le, Katharine de la Rocha, Jiro Wang

Rating: 5/10 – ex-Army veteran Eddie (Banderas) takes a night security job at a mall, and on his first night, finds himself fighting off a band of mercenaries hired to kill the teenage girl who’s taken refuge there; another Die Hard rip-off (when will they stop coming?), Security does have committed performances from Banderas and Kingsley as hero and villain respectively, but lacks sufficient invention to make this anything other than a pale echo of similar and better movies.

Quincannon, Frontier Scout (1956) / D: Lesley Selander / 84m

aka Frontier Scout

Cast: Tony Martin, Peggie Castle, John Bromfield, John Smith, Ron Randell, John Doucette, Morris Ankrum, Peter Mamakos, Edmund Hashim

Rating: 6/10 – when the Army discovers someone is selling rifles to the Indians, it’s down to experienced scout Quincannon (Martin) to get to the bottom of it all; while there’s nothing new here, thanks to Selander’s astute direction, Quincannon, Frontier Scout zips along at a decent pace and delivers on its basic premise, but not even Selander can mitigate for a pretty awful performance from Martin, a singer who really should have ignored his agent on this one.

Cars 3 (2017) / D: Brian Fee / 102m

Cast: Owen Wilson, Cristela Alonzo, Chris Cooper, Nathan Fillion, Larry the Cable Guy, Armie Hammer, Ray Magliozzi, Tony Shalhoub, Bonnie Hunt

Rating: 6/10 – Lightning McQueen’s days on the race track are numbered, but only he doesn’t get it, until racing for a new team begins to show him that there’s more to life than being Number One; Pixar redeem themselves somewhat after the complete and utter disaster that was Cars 2, but this is still tepid stuff that struggles to make the impact it needs, leaving Cars 3 looking nostalgic for the first movie, and trading on that movie’s glories to make itself look good.

Girls Trip (2017) / D: Malcolm D. Lee / 122m

Cast: Regina Hall, Queen Latifah, Jada Pinkett Smith, Tiffany Haddish, Mike Colter, Kate Walsh, Larenz Tate, Deborah Ayorinde

Rating: 6/10 – self-help guru Ryan (Hall) decides it’s time that she and her three best friends (Latifah, Smith, Haddish) should reconnect while in New Orleans for the annual Essence Festival, but having a good time proves more difficult than she, or they, could have ever imagined; yet another female-centric variation of The Hangover, Girls Trip wants to be raunchy and out there (the urination scene), but ends up instead as a warm and fuzzy ode to sisterhood that conforms to expectations, but is rescued by the committed performances of the “girls” themselves.

47 Meters Down (2017) / Johannes Roberts / 89m

Cast: Mandy Moore, Claire Holt, Matthew Modine, Chris Johnson, Yani Gellman, Santiago Segura

Rating: 6/10 – two sisters (Moore, Holt) on vacation in Mexico find themselves stranded in a shark cage at the titular depth, and they only have an hour to save themselves before their oxygen runs out; better than it sounds thanks to Roberts’ hand on the tiller, 47 Meters Down isn’t beyond making some silly mistakes (let’s have Modine’s captain recite the perils of nitrogen narcosis – twice), being too repetitive once on the sea bed, and building up tension only to allow it to dissipate to no great effect.

Burnt (2015)

01 Friday Jan 2016

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Burnt

D: John Wells / 101m

Cast: Bradley Cooper, Sienna Miller, Daniel Brühl, Riccardo Scamarcio, Omar Sy, Sam Keeley, Henry Goodman, Matthew Rhys, Stephen Campbell Moore, Emma Thompson, Uma Thurman, Lexie Benbow-Hart, Alicia Vikander, Sarah Greene

Adam Jones (Cooper) is a bit of a cause célèbre in the culinary world, having crashed and burned at the Paris restaurant where he worked thanks to his diva-like behaviour and propensity for drugs and booze. Now clean for two years, he turns up in London at the restaurant run by his friend and colleague from his time in Paris, Tony (Brühl). Adam tells an unimpressed and disbelieving Tony that he’s there to make up for Paris, run the kitchen in a top restaurant, and gain three Michelin stars. Naturally, Tony refuses to help him, but Adam isn’t about to give up. He bullies his way into Tony’s restaurant, shows Tony (and his clientele) what he can do, and eyes up the sous chef, Helene (Miller), with a view to poaching her for his own place.

Which, of course, he does, but not before Helene puts up a (semi-)spirited defence, and Tony has to be dragged away from his own job as a maître d’. Having assembled his kitchen staff, Adam’s opening night doesn’t go as smoothly or successfully as he’d hoped, and the abrasive side of his personality comes out, leading to a tirade of abuse directed at his staff and Helene walking out. But Tony persuades her to come back, and soon she and Adam are starting out on the rocky road to a relationship – of sorts. Back in the kitchen, the apparent arrival of two Michelin Guide inspectors sees Adam go all out to get his three stars, but an unforeseen setback destroys his dream.

Burnt - scene1

Adam goes off the deep end (albeit for one night) and winds up at the restaurant of a rival chef, Reece (Rhys). There he learns a couple of valuable lessons, reconnects with Tony and Helene, is given a second chance at gaining the three Michelin stars, and begins – again – to put his life back together.

Burnt features a screenplay by Steven Knight, a British screenwriter who’s also responsible for Eastern Promises (2007) and Locke (2013). But he’s also written the likes of Hummingbird (2013) and Seventh Son (2014), so his track record is a little uneven… and Burnt falls firmly into the latter category. There’s very little here that makes sense, and a lot of it happens for no particular reason at all, leaving the drama feeling undercooked and the romance warmed over. For example, we don’t know why Adam chooses London to make his return. It’s never explained how he manages to stay clean without attending any meetings (“I’m not good in groups,” he keeps saying). And his backers have insisted he have weekly blood tests to ensure he’s not using again; if he does they’ll withdraw their backing. (This is where Emma Thompson comes in, as the therapist who takes his blood. Why not the hospital or a doctors’ surgery? It’s a strange arrangement, and one that just sits there like a fait accompli.)

Elsewhere there are subplots and other subplots that have their own subplots, like the money Adam owes to some unsavoury types in Paris, and who have traced him to London (having failed to learn he was in the US for two years while getting and staying sober). On the back of that we’re introduced – very briefly – to an old flame (played by Vikander) who drifts in and out of the movie and provides no threat whatsoever to the relationship Adam has with Helene (it might have been predictable but it would also have raised the movie out of the dramatic doldrums it rolls around in for an hour and a half).

Burnt - scene2

And when the script decides to throw in the notion that Tony is in love with Adam, it comes literally out of nowhere and then is left hanging there to dwindle away to nothing. Maybe these moments are meant to add depth or meaning to the various relationships in the movie, but all they do is confirm the notion that Knight hasn’t really got to grips with what the movie is meant to be saying. Adam rants unconvincingly at his staff, and thanks to the movie’s PG-13 approach, sounds less like Gordon Ramsay and more like someone having a good whinge. There’s the awkward use of his rival, Reece, as well. One minute Reece is disparaging of Adam’s talent and attempt at redemption, the next he’s stuck with lines like “You’re better than me. But the rest of us need you to lead us to places we wouldn’t otherwise go.” (Really?)

There’s more, too much more, and things aren’t helped by Wells’ direction, which remains staunchly flavourless throughout, and a cast who struggle continually to do their best but remain hamstrung by Knight’s script. Cooper, normally a very capable actor, doesn’t seem to know what to do with his character, and goes with the flow of each individual scene, so that he’s angry one moment, happy the next, confused after that, and then determined, but it’s like he’s acted in each scene with no intention of linking them with any other scenes, or the picture as a whole.

Burnt - scene3

Miller is poorly used – again – and the other female roles don’t even amount to a whole one. Thompson does just enough, Vikander isn’t allowed to do even that, and Thurman pops up as a food critic who can’t even do bitchy properly (honestly, Anton Ego from Ratatouille (2007) was more caustic). On the male side, Sy is kept firmly in the background until the script needs him (only twice), Brühl struggles with a character who gives new meaning to the word “bland”, and Scamarcio is virtually a passer-by as one of the two French thugs. The Doors once sang, “No one here gets out alive”, but in terms of Burnt, the line should be “No one here gets to act alive”.

Rating: 4/10 – with the food on display looking bright and vibrant and good enough to eat, a plate is the only place you’ll find anything that’s vibrant in Burnt; tedious, muddled and poorly constructed, this is a movie that should be sent back for being completely inedible.

Mini-Review: The Face of an Angel (2014)

20 Monday Jul 2015

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Face of an Angel, The

D: Michael Winterbottom / 100m

Cast: Daniel Brühl, Kate Beckinsale, Valerio Mastandrea, Cara Delevingne, Corrado Invernizzi, John Hopkins, Genevieve Gaunt

Thomas (Brühl) is a documentary filmmaker who becomes interested in making a movie about the media circus surrounding the trial for murder of student Jessica Fuller (Gaunt), who, with her boyfriend, is accused of killing her roommate. He meets journalist Simone Ford (Beckinsale), and she provides him with the background material he needs in relation to the murder and the people involved. As Thomas begins to look into the case he finds himself focusing on the ways in which the spotlight has caught Jessica in its gaze, and how the media have lost sight of the victim. He determines to make his movie about this (perceived) injustice, and begins to interview the various players.

In doing so, Thomas meets a young English student, Melanie (Delevingne). She helps him with introductions within the community that Jessica is part of, but by this stage he’s already finding it difficult to write his script, and his frustration has led to him drinking heavily and taking drugs. When Thomas is introduced to Francesco (Invernizzi), who appears to know too much about the murder, and who Thomas believes is involved, it leads him to try and solve the mystery of the murder, and what exactly happened to Jessica’s roommate. But Thomas finds himself increasingly adrift in the town where the trial is taking place, and begins to have trouble sifting reality from fantasy, as his drink and drug use causes him to become desperate to find the truth.

Face of an Angel, The - scene

Michael Winterbottom’s career has always been an interesting and very often challenging one. He’s a director who’s unafraid to take risks – 9 Songs (2004), The Killer Inside Me (2010) – and his ability to genre hop and still maintain an impressive track record of movies, is unimpeachable. However, he does sometimes trip up, and for every 24 Hour Party People (2002) there’s a Genova (2008), and sadly, despite the movie’s real-life background and inspiration – Barbie Latza Nadeau’s book Angel Face – The Face of an Angel falls into the latter category.

While it’s refocused look at the Amanda Knox trial gives the movie a sense of immediacy, it’s overwhelmed by the decision to make Thomas’s gradual emotional and intellectual disintegration more important than the story he’s looking into. The movie’s initial examination of the machinations and narrow-sighted approach of the media soon gives way to Thomas’s increasingly fevered, personal investigation, and the possibility that Francesco is the real killer. Alas, by doing so, Winterbottom and writer Paul Viragh commit the same sin they’re seeking to expose at the beginning, and lose sight of the victim as well. What doesn’t help is that Thomas, despite Brühl’s best efforts, is charmless and unlikeable, and this makes it difficult for the audience to engage or sympathise with him. Beckinsale is underused, while Delevingne delivers a fresh, natural performance as Melanie.

Rating: 4/10 – unbearably arch at times, with the character of Thomas continually placed in situations where he’s clearly out of his depth, The Face of an Angel is an unnecessarily glum, and surprisingly tedious, outing from the usually reliable Winterbottom; the location photography is a much-needed bonus, and the basic idea is sound, but in its execution, the movie strays too far from its own agenda.

A Most Wanted Man (2014)

27 Thursday Nov 2014

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Most Wanted Man, A

D: Anton Corbijn / 122m

Cast: Philip Seymour Hoffman, Rachel McAdams, Willem Dafoe, Grigoriy Dobrygin, Nina Hoss, Robin Wright, Homayoun Ershadi, Daniel Brühl, Mehdi Dehbi, Rainer Bock

Chechnyan refugee Issa Karpov (Dobrygin) arrives in Hamburg illegally. Spied on CCTV by the German intelligence network, Karpov is of particular interest to the team led by Günther Bachmann (Hoffman). With their specific focus on the Muslim community, Karpov’s appearance raises questions, especially as the Russians believe he could be an extremist bent on committing a terrorist attack. With another German intelligence agency led by Dieter Mohr (Bock) wanting to arrest Karpov immediately, Bachmann gains seventy-two hours in which to identify Karpov’s motives. At the same time, Bachmann is also looking into the financial dealings of local Muslim philanthropist Dr Abdullah (Ershadi), suspecting him of siphoning charity donations to terrorist organisations.

However, Karpov has come to claim an inheritance. He enlists the help of immigration lawyer Annabel Richter (McAdams), asking her to make contact with banker Tommy Brue (Dafoe). Karpov’s inheritance is held at Brue’s bank, and while Brue needs proof of Karpov’s identity and his claim, Bachmann recruits Brue as part of a plan that has wider implications than whether or not the Chechnyan is in Hamburg for suspicious reasons. With Brue on board, Bachmann begins to piece together more and more information relating to Karpov’s past and his reasons for being there. When Richter begins to feel she and Karpov are being watched she manages to get him to a safe house, but Bachmann abducts her, and persuades her to help him in getting Karpov’s money to him.

In the meantime, US diplomatic attache Martha Sullivan (Wright), ostensibly an observer, helps Bachmann with his investigation, and uses her position to keep Mohr off Bachmann’s back. With Brue and Richter both on board, Bachmann’s wider plan to entrap Dr Abdullah begins to come together. Karpov, unaware of what’s happening, or that he’s been under constant surveillance, is persuaded to sign over his inheritance. But when Abdullah presents a list of charities to receive funds from Karpov’s unwanted legacy, and it doesn’t contain the name of the charity that Bachmann and his team suspect is being used by Abdullah to divert monies to terrorists, it looks as if all their intelligence gathering and surveillance work has been for nothing.

Most Wanted Man, A - scene

A sharply detailed look at the behind the scenes work needed to apprehend or “turn” a terrorist suspect, A Most Wanted Man is a dour triumph that succeeds because Andrew Bovell’s measured and skilful adaptation of the novel by John le Carré takes its time introducing and maintaining the various subterfuges that pepper the narrative. This is an espionage thriller that eschews gunplay and car chases, and instead focuses on the mind games used in manipulating people into “keeping the world safe”.

A Most Wanted Man is an absorbing, slow burn movie that takes a somewhat familiar plot – does a person of interest have good or bad motives? – and thanks to a commanding central performance from Hoffman, Bovell’s polished script, and Corbijn’s exacting direction, is as sure-footed in its design and execution as any other le Carré adaptation (it does seem that the author’s works lend themselves well to being adapted for the screen). Holding it all together is another superb performance from Hoffman, his German accent making him sound completely different, and his somewhat slovenly appearance belying the intellect that keeps him several steps ahead of his quarry (and often, his team). This was Hoffman’s last lead role before his death, and as an unexpected swan song, shows once again why he was one of the finest actors of his generation. There’s not one moment where the artifice slips and the viewer becomes aware that they’re watching an actor – Hoffman inhabits the role so completely, it wouldn’t surprise anyone if they bumped into Günther Bachmann in real life.

Hoffman is ably supported by his co-stars, particularly McAdams who takes a largely conventional role and gives it a depth that is surprising for the character (but not for the actress). Dafoe is equally good as the compromised banker, Brue, and Hoss’ fatalistic second-in-command adds a layer of melancholy to the movie that reflects the sombre approach to the material. As the tortured, subdued refugee, Dobrygin is terrific in his English language debut, mournful and emotionally reticent, but with a deep-rooted sincerity that fits the character perfectly. But while the main cast all excel, spare a thought for Brühl, whose character is reduced to contributing the odd line and who stays firmly in the background.

With the political background given due relevance, and the inner workings of German intelligence – whether correctly detailed or not – explored in surprising detail, A Most Wanted Man remains a captivating, quietly meticulous thriller that benefits from an austere, gloomy production design by Sebastian Krawinkel that in turn is matched by Sabine Engelberg’s precisely detailed art direction. Keeping all these elements in tune, and creating a wholly believable milieu, Corbijn – whose previous feature The American (2010) was not as disciplined as his efforts here – makes it easy for the viewer to understand what’s going on at each twist and turn, and ratchets up the tension with a confidence that some more experienced directors never attain no matter how many movies they make. In the end, it all hinges on a signature, the kind of moment that few thrillers rely on, but here, Corbijn has the viewer on the edge of their seat and holding their breath. And then with victory assured, he and Le Carré pull off something so unexpected that the viewer’s breath is taken away altogether. It’s an audacious feat, and all the more impressive in the way it’s carried out.

Rating: 8/10 – with an eerily compelling score by Herbert Grönemeyer, the only negative that can be said about A Most Wanted Man is that, even with le Carré’s source material at its heart, some parts of the story and plotting are predictable; that said, it’s still a complex, engrossing thriller featuring effortless performances and is an intelligent, thought-provoking piece that rewards throughout.

Mini-Review: The Fifth Estate (2013)

09 Sunday Mar 2014

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Fifth Estate, The

D: Bill Condon / 128m

Cast: Benedict Cumberbatch, Daniel Brühl, Anthony Mackie, Laura Linney, David Thewlis, Alicia Vikander, Peter Capaldi, Moritz Bleibtreu, Carice van Houten, Jamie Blackley, Stanley Tucci

Remarkably similar in tone and circumstance to the creation of Facebook as shown in David Fincher’s The Social Network, The Fifth Estate shows how WikiLeaks became such a global phenomenon.

In the beginning, Julian Assange (Cumberbatch) is shown struggling to get his site acknowledged by the wider Internet community. A fortuitous meeting with Daniel Berg (Brühl), a bored IT expert, gives Assange the help he needs in expanding and publicising WikiLeaks, and sets them on the road to international notoriety. Along the way they expose dictatorships, a tax-avoiding Swiss bank, rigged elections, and more. Then comes the tipping point: over 250,000 leaked documents relating to the US war crimes in Afghanistan, and diplomatic cables that describe the US’s real feelings about the various governments and world leaders it deals with. Assange and Berg fall out over how to disseminate the information, and the future of WikiLeaks is brought into sharp relief.

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Already disowned by Assange, The Fifth Estate shows WikiLeaks’ creator to be narcissistic, arrogant, paranoid, and a user of other people. Cumberbatch plays him superbly, all grating Australian accent and sneering condescension; but how close a representation of the man it really is, is difficult to tell. Based in part on Berg’s own book, the movie skirts perilously close to demonising the man, while Berg comes out of it looking whiter than white. For a film about a man with a burning desire to show people “the truth” about the world they live in, it’s a dangerous approach to take. This is one-sided reportage, and the film ends with Cumberbatch as Assange making reference to the film itself and dismissing it; it’s an uncomfortable coda, even though Assange has made his feelings clear about the movie.

That said, the movie is a gripping retelling of recent events and holds the attention throughout. The cast are uniformly excellent, and even though the script by Josh Singer contains large chunks of exposition, it’s all presented in an easy-to-follow manner. Condon, fresh off the challenges of the final two Breaking Dawn movies, directs confidently and with a clear eye for the complexities of the material. It’s a movie that will attract controversy for some time to come, but as a jumping off point for the wider issues involved, this is where the movie really succeeds.

Rating: 8/10 – powerful, with two mesmerising lead performances, The Fifth Estate is thought-provoking, intelligent and remarkable; while it’s not as rigorous in its approach as it would like to be, it’s still a fascinating examination of a recent global phenomenon.