It’s February. That means cold, freezing weather.
It is also the culmination of the awards season. Yes, it’s nearly time for the biggest, glitziest celebrity ceremony of the year – The Oscars.
Chilly, horrible weather, and awards season? I think I better start with…
Ridley’s Scott’s latest space offering is set on the red planet, where things get pretty cold. It is nominated for seven Oscars, including Best Actor for Matt Damon, and Best Picture.
In a tale of human strength and the will to survive, NASA botanist Mark Watney (Damon) is abandoned on Mars after being struck by debris. Believed dead by the rest of his team, they blast off and leave him behind ET-style.
Setting the tone for the movie, Watney has to patch himself up after getting harpooned in the gut. It’s realistic and gritty, unlike my beloved Prometheus (also directed by Ridley). It’s clear that Ridley and Watney are going to “science the shit” out of this one.
Based on the 2011 novel by Andy Weir, it does contain laughs – more than in some so-called comedies, even if the scenes on Earth get as dry as Martian soil. Luckily, whenever things get a bit boring or lofty at NASA HQ, something goes wrong for Watney and the film becomes engrossing again. (Not that I actively wanted the character to suffer or anything.)
The red planet looks like a beautiful destination and the astronauts have cool space suits in a kind of burnt amber that match the scenery. Eventually, the lonely Watney almost looks like part of the rocky landscape.
It’s not as good or moving as Gravity, but it’s still a fantastic ode to human endeavour and ingenuity. There’s no doubt Matt Damon is the Best Actor on Mars.
Before I watch Crimson Peak I have it pegged as a not-very-good Victorian horror. I know it has a pedigree, with stars like Tom Hiddleston, Mia Wasikowska and Jessica Chastain, and cult director Guillermo del Toro. Yet Crimson Peak flopped at the box office.
Wasikowska is aspiring writer Edith Cushing, whose genuine sweetness is never overshadowed by the movie’s darkening atmosphere. Edith’s dad is a decent, bearded fellow; her mother is a creepy, inky ghost. Edith also has a suitor in the shape of Charlie Hunnam’s mild-mannered physician Dr Alan McMichael.
Enter Tom Hiddleston as Sir Thomas Sharpe. Sharpe is a British aristocratic with a crumbling estate back home, and he’s seeking investors for his mining inventions. Pa instantly dislikes him – he certainly seems a bit ineffectual, especially next to his Bronte mean girl sister Lucille (Chastain).
Edith marries the brooding Hiddles and returns to England with him to live at said crumbling estate. There’s a gaping hole in the roof and gross red clay oozing through the walls and the floors. The cast and the decomposing goo-mansion seem to breathe and sigh as one soggy, yet determined and talented mess.
Although it is sinister, it doesn’t deliver shocks or scares like the Victorian Gothic The Woman in Black. This is probably because it isn’t intended as a horror/ghost story. It’s a dark costume drama, a weird Tim Burtonish fantasy and a brooding romance – I’m not sure. I wonder if anyone in charge of the marketing knew either.
Kudos to the movie’s strange warmth and passion, and to a great cast and costumes.
There’s horror in Sicario, a fictional war-on-drugs action crime thriller. From the start, it is so brutal I actually had to wonder what I was doing watching it.
Idealistic young FBI agent Kate (Emily Blunt) is a kidnap response expert who makes a particularly gruesome discovery in Arizona. She gets hauled into a narcotics task force led by the morally ambivalent Matt (Josh Brolin), a DoD advisor/CIA- somebody-or-other, and his even shadier partner Alejandro (Benicio del Toro).
Blunt is wide-eyed and vulnerable – enough to be affecting, but not so much to be miscast as a door-kicker rolling with Delta Force. If she were named Jennifer Lawrence, she’d have another Oscar nomination in the bag.
There probably isn’t enough there though, for Blunt to have garnered awards consideration. She’s the audience’s proxy, and she doesn’t have many lines or really drive the story forward. She’s along for the ride, just staring in horror at the violence depicted on both sides; in this movie, the good guys have decided to fight very dirty.
Del Toro gives a most enigmatic performance. He actually turns waking up from a nap into compelling onscreen action. Kate can’t tear her eyes off him; neither can the audience.
The two characters have a murky relationship. She appears attracted to him, even if he scares her. He wants to protect her, even as he threatens to kill her. Intense stuff.
Sicario is nominated for cinematography, original score and sound editing at the Oscars.