Tag Archives: Domhnall Gleeson

Brooklyn (2015)

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I’d like to say that I saved the best for last, but no, Brooklyn is not the best of the eight Best Picture Oscar nominees this year. It’s a solid movie, though in my opinion also the weakest of the lot. It is, in fact, the only nominee I didn’t genuinely love.

Adapted from Colm Toibin’s novel of the same name by none other than Nick Hornby and directed by John Crowley, Brooklyn is a period drama-romance set in the 1950s. It tells the story of Eilis (Saoirse Ronan), a young Irish woman who leaves home for the United States (guess which area?) for a job and prospects of a better life. I don’t want to give too much away — I had no idea where the story was heading and probably liked the movie more because of it — except to say that of course she meets a nice young fellow (Emory Cohen), resulting in some classic romance but also plenty of heartache as Eilis finds herself forced to make some difficult choices.

Brooklyn is without a doubt exquisitely made, capturing the look and feel of the era and infusing the narrative with a good dose of nostalgia. It was a more innocent and optimistic time back then, and Crowley does a fine job of developing the young romance in a sweet albeit slightly romanticised way.

Saoirse Ronan delivers a wonderful performance that’s as good as any of the other Best Actress nominees this year (I’d probably still give it to Brie Larson or Charlotte Rampling though), and it’s a delight to hear her speak in her natural accent for once. She was almost good enough to make me forget she was in The Host, one of the biggest atrocities to hit the screen in 2013.

The rest of the cast is solid too, with Emory Cohen showing off enough charm to make us believe in the courtship and the ubiquitous Domhnall Gleeson delivering yet another strong, understated performance. Julie Walters, Jim Broadbent — it’s a classy ensemble with no weak links.

Thanks to the script, direction and acting, the central romance works in an awkward and cute way, and not without a touch of humour. I started to like the film, and, as expected, something happens to change its trajectory. I even enjoyed this change of pace and how the plot continues to develop — until a deflating and thoroughly unsatisfying final act that totally ruined it for me. It made me realise that I actually didn’t like the protagonist and I didn’t want to root for her after all.

That shouldn’t take away from all the good Brooklyn delivers, though when a film leaves a bad aftertaste that’s the thing you remember the most. However, even if you discount the disappointing third act, I thought the film would have had more of an impact on me with its depiction of that feeling of fear, uncertainty and homesickness that comes with moving to a foreign land, especially since I had experienced something similar. Not to say there weren’t moments that tugged my heartstrings, though pound for pound, Carol, another period romance-drama fueled by phenomenal performances, was the superior experience for me (that said, neither makes my personal Best Picture list).

It’s always easier to be critical of an acclaimed film because of heightened expectations, and Brooklyn is no different. While I appreciate the quality of the production and the performances, I personally feel there are more deserving films that could have replaced it in the Best Picture category. At the end of the day, Brooklyn is still a fine film, an lovely motion picture with some touching moments, just not one of the top eight of the year.

3.5 stars out of 5

Movie Review: Ex Machina (2015)

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In the superhero era, sci-fi movies these days are bigger, louder and more special-effected (is that a word?), and so I was really looking forward to Ex Machina, the low-budget (US$15 million) directorial debut of career screenwriter Alex Garland, best known for penning the scripts to sci-fi semi-classics like 28 Days Later, Sunshine and Never Let Me Go (and he wrote the novel The Beach, which was made into that movie with Leo DiCaprio and Virginie Ledoyen).

The film received an avalanche of hype as early as last year, and I’m glad to say it does not disappoint. As a pure sci-fi story that goes back to the roots of the genre, Ex Machina delivers. Despite very little action and a deliberately mellow pace, the film is gripping, thought-provoking, tense and claustrophobic all the way through.

Without giving too much away, the film begins with a young programmer Caleb (Domhnall Gleeson) from the world’s largest search engine company, Bluebook (basically Google), winning a contest to meet the company’s enigmatic billionaire CEO, Nathan (Oscar Isaac), who lives in a secluded research facility that requires a helicopter to access. Nathan invites Caleb to participate in an experiment involving his latest creation, a beautiful humanoid android named Ava (Alicia Vikander). It’s Caleb’s task, through conversations and observation, to judge whether Ava has consciousness, or whether she’s just simulating consciousness. And so begins an intriguing series of “sessions” between Caleb and Ava as Nathan looks on through surveillance video.

As you would expect, things are not as simple as they appear, and soon Caleb finds himself with a lot of unanswered questions. There are mini twists and turns galore, with Caleb growing more paranoid about both Ava and Nathan, and eventually, himself. Who’s telling the truth and who’s lying? Who’s playing whom? It’s one of those films where you never stop questioning the characters’ motives and what they are trying to achieve, and it’s this mystery that provides the strong pulse to the heart of the tale. It helps that it’s not a hackneyed plot that relies on one massive twist to shock audiences — this is a fascinating sci-fi story from start to finish.

In typical classic sci-fi fashion, there is a surrealistic feel to the experience that is almost dreamlike. The high-tech facility where the bulk of the film is set is grey and sombre, and the windowless walls seem as though they are closing in on Caleb as his paranoia and claustrophobia grows. The facility is juxtaposed nicely with the outdoor scenery the characters occasionally escape to, providing a technology vs nature dichotomy that plays into the film’s layered themes.

The film would not be what it is without the spectacular performance of Alicia Vikander, a Swedish actress whom I had only seen once prior, in the disappointing Seventh SonVikander is a perfect blend of beauty, sexuality and grace, and her dancing background really helped provide the right mix of human and robot to Ava. You believe what she is — a highly intelligent robot who could easily be mistaken for an attractive human but for the see-through limbs and mid-section. Everything about her performance, from the way she moved to the facial expressions and even the way she spoke contributed to making Ava so authentic that she bordered on creepy. Most importantly, she makes you believe in Caleb’s reactions to her. Vikander’s going to be a star, no doubt about it.

Oscar Issac also impresses as Nathan, a genius with demons to exorcise. After seeing him shine in Inside Llewyn Davis, The Two Faces of January and A Most Violent Year, I knew this was going to be the case. Isaac is a chameleon capable of playing anyone, and the intensity he brings to Nathan elevates the character into more than it should have been. Can’t wait to see him in the new Star Wars film at the end of the year.

By contrast, Gleeson is the weakest link. He’s pretty good as Caleb — just not as eye-catching as the other two — though I suspect the burden of suppressing his Irish accent in favour of an American one affected his performance to some degree. Interestingly, the first time I saw Gleeson was in an episode of Black Mirror, the brilliant Charlie Brooker sci-fi series, where he played a life-like android himself. That was a phenomenal story with parallels to this one, and I’d recommend fans of the movie to check out the “Be Right Back” episode of Black Mirror if they haven’t already.

Ex Machina does have a few holes in it as the story veers towards its tense conclusion, a problem common to even the best sci-fi films, though on the whole it’s hard to ask for much more from Garland in his directorial debut. It’s also a fine film from an aesthetics perspective; the special effects are used sparingly but effectively — mostly on Ava’s semi-transparent body — and the cinematography does a solid job of balancing the emotional and visual aspects. This is a fable that will make you think about the inevitable fallibility of human nature and the future of technology, especially in an age when artificial intelligence is making it difficult to distinguish sci-fi from reality. Even Stephen Hawking said recently that he believes “the development of full artificial intelligence could spell the end of the human race.” Now think about that.

4.5 stars out of 5