Film Review | Tyrannosaur (2011)

Paddy Considine the actor has attempted a diapason of roles, from revenge-consumed former soldier Richard in Dead Man's Shoes to one half of the "Andys", the detective double act seen in Hot Fuzz. Considine the director opted very much for a bleak and heavily realistic tone closer to his dramatic work with Shane Meadows for his feature debut. It's one decision of many which make Tyrannosaur surely one of the strongest inaugural works seen from any director in some time.

Considine's film is confident and mature showing an understanding for the director's craft that perhaps even surpasses his acting ability, with shot after shot crafted expertly and presenting the bleak and angry version of Britain Considine clearly wants us to see. It's hard to place Tyrannosaur geographically to one place: despite being filmed in Yorkshire there's very little to tie the film to that part of the country, and many of the actors perform using their natural accents making things even less clear. It's a clever choice from Considine as director, giving the film's message about the nature of humanity a feel of universality.

The film's strongest element alongside the direction of Considine is in its cast. Peter Mullan's performance as anger-infused alcoholic widower Joseph is incredibly powerful, creating an enigmatic anti-hero by turns both inspiring and repulsive. Olivia Colman opposite him as Hannah is quite simply extraordinary in a demanding role, delivering incredible raw emotion throughout. Completing the trifecta is Eddie Marsan as Hannah's husband James creating surely one of the most loathsome male characters seen on screen for some time through an unsettlingly authentic turn.

Considine's choice to make his film relentlessly bleak and unforgiving allows the director to produce some incredibly effective and hard-hitting drama, but it's also the main factor that holds the film back from perfection. Watching Tyrannosaur could never be accurately described as enjoyable. It's a film to appreciate, admire and applaud, but its persistently harrowing nature does make it hard viewing at times. When the lightest and most upbeat moments of a film happen during a funeral and wake, you know you're in for a punishing cinematic experience. Occasionally too Considine threatens to allow the brutality of Tyrannosaur's world to overflow into the ludicrous; it never happens, but the film teeters on the brink once or twice.

If you can take Tyrannosaur's perpetually angry and savage perspective, this is a film which will reward you with some of the finest contemporary British cinema you're likely to experience. It forms an astounding debut for Considine as a director, and will leave you excited for the actor's next venture behind the camera.

8/10

Film Review | War Horse (2011)

My anticipation of War Horse was perhaps significantly less than that of many. I haven't read Michael Morpurgo's children's novel, now thirty years old, from which the film is adapted; nor have I seen the acclaimed West End production, perhaps most famous for its intricate and impressive full-size horse puppets and the realistic way in which they are brought to life by those operating them. In fact, the biggest draw of the film for me was Steven Spielberg sitting in the director's chair revisiting wartime Europe once again. Nominated for a multitude of awards, including a Best Picture nod as well as five other Oscars at this year's Academy Awards, War Horse certainly on paper held a wealth of potential to be another Spielberg classic.

Beginning shortly before the beginning of the First World War, War Horse follows the life of a horse named Joey, raised and trained by teenager Albert Narracott (Jeremy Irvine) on his father's (Peter Mullan) farm in the Devon countryside, before being sold to the British Army in 1914 when war breaks out.

Joey's story takes him through a wealth of settings, from his beginnings as an unlikely plough horse in Devon through to wartime France at various stages of the war. It's a journey which allows Spielberg as director to create some beautiful and captivating sequences. The cavalry charge beginning in a French cornfield is particularly memorable, as is the scene which sees a terrified Joey hurtling through both British and German trenches before becoming stranded in the middle of no man's land.

Unfortunately, the cinematography of these scenes can only be appreciated in isolation. Structurally, the film is decidedly unsatisfying, with Joey's story moving too hurriedly from one set of human characters to the next. No sooner do we feel settled in Spielberg's decidedly chocolate box vision of early 20th Century Devon at the start of the film than the director moves us on to a new set of characters. Tom Hiddleston as Captain Nicholls, Joey's next owner, is undoubtedly one of the film's strongest characters thanks to the talented actor's performance, but we simply aren't afforded the time to get to know him well enough to truly invest. It's a pattern which happens again and again until the film's conclusion thanks to the plot's rigidly episodic structure. It's a source of constant frustration: other enjoyable talents such as Benedict Cumberbatch, David Thewlis and Toby Kebbell receive just enough screen time for us to want to get to know them better, before being snatched from under our noses, thereby building up layer upon layer of unsatisfying and underdeveloped character arcs.

Tonally, the film ranges from the stark realism of the battle scenes, to the heavy-handed sentimentality of much of the final act, to - perhaps least satisfying of all - the ill-advised and amateurish humour generated by a meeting between a British and German soldier in the middle of no man's land, united in their desire to help the injured Joey. In the end, War Horse ends up as a film which never manages to develop fully, and doesn't have a strong or consistent enough script to prop it up. With a running time at least half an hour too long and a host of British talent that deserve meaty roles to sink their teeth into, but end up with extended cameos at best, it's a film which ultimately puts style over substance. Aside from a few directorial flourishes from Spielberg, War Horse ends up as a shallow and mediocre melodrama.

5/10