The Imitation Game Movie Review

Maybe I’m just not easily impressed anymore. Maybe it’s because I rarely see any of the really bad movies anymore and so by comparison, the stuff that is really good seems so ordinary. The Imitation Game is supposed to be one of the year’s best movies, but it is so utterly conventional, I just found it sort of dull. This is the story of Alan Turing, the British mathematician who helped decode the messages churned out by Enigma, the Nazis’ communication device, which should be a ripe subject for a fascinating story. The machine Turing developed to break the code laid the foundation for modern computing.

Zero Dark Thirty Movie Review

I’m coming at my review of Zero Dark Thirty after it has become a lightning rod for criticism and charges that it depicts torture as having elicited a positive outcome in the hunt for Osama bin Laden, overplaying the role of “Enhanced Interrogation Techniques” in tracking down the world’s most wanted terrorist. Director Kathryn Bigelow’s defense is as reasonable and accurate as you can get: depiction is not the same as support. But the specific charge is that the story, as laid out in Mark Boal’s screenplay, has the chain of information leading to bin Laden coming from facts gleaned through torture. I recognize this is problematic, made more complicated by the fact that Boal and Bigelow have touted the journalistic nature of the film.

Tinker Tailor Soldier Spy Movie Review

If you find yourself asking “What happened?” at the end of Tinker Tailor Soldier Spy, don’t assume you’re alone. This is not because it’s confounding to the point of being indecipherable, but rather for its insistence on avoiding the clichés of spy thrillers that we’ve grown so accustomed to.

To summarize the plot could take all day. Based on the John le Carré novel, the story is set at the upper echelons of British Intelligence in the thick of the Cold War, when Britain and Russia each had spies working to subvert the other and each likely had moles working in the other’s foreign office. Le Carré knows something about British Intelligence, having worked there for many years before retiring and devoting himself full time to writing spy thrillers. His work is the antithesis to Ian Fleming’s James Bond series, which rely heavily on action and thrills, where Bond’s moral clarity is rarely, if ever, questioned. The characters that le Carré creates live in a world of moral ambiguity. Their conflicts are within their own offices and directed internally much more than toward any foreign power. That this story involves the presence of a well-placed mole at the top of British Intelligence is just par for the course.

The Guard Movie Review: Irish Garda Meets FBI

“I’m not sure if you’re really dumb or really smart.” So says the FBI man played by Don Cheadle to Gerry Boyle (Brendan Gleason), a sergeant in the Irish Garda stationed in Galway on the west coast of Ireland where the people have surly attitudes toward outsiders (particularly Dubliners) and sometimes they insist on speaking only Irish. Gleeson, a bulky bear of a man, is just the right actor to pull off the delicate balance between stupid and clever. His character might be equal parts ‘Mad-Eye’ Moody from the Harry Potter films and Martin Cahill, his character in The General.

The Guard, written and directed by John Michael McDonagh, has a darkly sinister comic sensibility akin to In Bruges, also starring Gleeson and written and directed by McDonagh’s brother Martin. The film opens with a car careering along the country roads of Galway, going just off camera as we see Gerry in his patrol car and then hear the screeching tires and crash of metal on the soundtrack. Gerry’s expression doesn’t change as he witnesses and then approaches the scene to find an overturned car and several bodies strewn about the road. He then rummages through a dead man’s pockets for the drugs he knows he’ll find – not as evidence but for personal recreational use. This scene plays as black comedy, setting the tone for the rest of the film, mainly because of the complete absence of blood and gore that should be present on the road.

The Way Back Movie Review

“Based on the book” is a phrase sometimes applied loosely to films. “Inspired by” is a somewhat more accurate albeit much more imprecise expression of the basis for source material. Still more liberally invoked in cinema is “based on a true story.” In Peter Weir’s The Way Back we have a film that is very loosely based on the book The Long Walk, purportedly presenting a true story, the veracity of which has been called into doubt on several occasions.

None of that should really matter because when we watch a film we should be judging it on its own merits and not on whether it’s similar to the book or not, or if it’s a true story. But the problem is that presenting your film up front as being based in fact tends to color the audience’s judgment of the events depicted.