As is becoming customary, the start of the year’s film going gives the audience a chance to see most of the major awards contenders. The Theory of Everything, Birdman and Foxcatcher are three such movies now on release, each with strong Oscar chances. Whilst I expect them to receive best picture nominations, it is in the acting categories that they have the best chance of winning…
The Theory of Everything
Tells the story of the renowned physicist Stephen Hawking’s life from his time at university, when he was first diagnosed with motor neurone disease, until the near present day. The film is at its best depicting his physical deterioration and the impact it has on him, and on his marriage to Jane. Surprisingly funny at times but heartbreaking at others, the ravages of the illness are well depicted.
Eddie Redmayne as Hawking is excellent: and that is just as much in the scenes of him before the illness struck as in the more showy opportunities he has later in the film. Felicity Jones gives a real spark and compassion to the role of Jane, one that could have been overshadowed in lesser hands. It is a shame to see such good performers as Emily Watson, David Thewlis, and Maxine Peake have little to do in smaller roles though.
Less successful also are the attempts to convey Hawking’s genius. The director, James Marsh, provides an early scene of him frantically scribbling formula on a blackboard but little is seen of him at work after that. It almost comes as surprise to hear him casually referred to as “world famous” part way through the film as there was no sense of the impact his scientific findings and theories were having up to that point. However, this is good, solid, entertainment.
Rating: 7 out of 10
Birdman
Michael Keaton plays an actor (Riggan) best known for portraying the titular super hero character in three films earlier in his career. Desperate to disassociate himself from that role and to re-launch his career, he finances, directs and stars in a serious dramatic play on Broadway. Keaton, for obvious reasons, is very clever casting in the part, a role that he is clearly revelling in. Naomi Watts and Edward Norton are also able to give their best performances for some time as actors in Riggan’s play.
In fact, any of the intense scenes between Norton and Keaton could feature on the best of the year list at the end of 2015. Also the direction by Alejandro González Iñárritu is hugely impressive. Cleverly giving the impression that the film was shot in one long take, the camera brilliantly swoops through the warren of corridors backstage at the theatre. So, having said all of that, why I have rated it so low? Despite the good elements, the film does have major problems.
At two hours, it is way too long to sustain the story which becomes increasingly contrived and self indulgent. The last 20 minutes or so feel completely out of control and increasingly tiresome. Worst of all though, is the insistent, intrusive and irritating drum score by Antonio Sanchez that drove me to distraction throughout. Keaton is probably Redmayne’s main competition for the best actor Oscar, and once again it is the acting that is the big draw here.
Rating: 5 out of 10