Zero Dark Thirty

Before we start, I'm not going to contribute to the debate surrounding Zero Dark Thirty with regards to its depiction of torture. Much better and more well-argued pieces exist on the subject than I could ever write. All I'll say is that such arguments are inherently flawed and as pointless as a shoe shop offering a Buy One Shoe, Get Another Free offer. Now, moving on...

Zero Dark Thirty could be seen as the next logical step for director Kathryn Bigelow to make, following her hugely-successful bomb disposal thriller, The Hurt Locker. With tense action sequences, male-dominated worlds and plenty of swearing, Zero Dark Thirty follows the hunt by the CIA to find and kill Osama Bin Laden: a story which spans ten years and which is condensed down, rather masterfully, into 2 hours 37 minutes by screenwriter Mark Boal. Centred on female CIA agent Maya (Jessica Chastain), the film is taut and very intense and the title, in case you were wondering, refers to Special Forces jargon for the time of night the operation took place.

The whole feel of the film is very factual. An intensity runs throughout the film in both the action sequences and the CIA meetings, a result of the great acting from the entire cast. Chastain's performance was utterly brilliant and she has firmly cemented herself as one of my favourite current actresses. Although some have criticised the Hollywood aesthetic of her character (at one point, she sports a pair of Ray-Ban aviators), I felt that her portrayal of an independently fierce, vulnerable and strong-willed protagonist was totally captivating. An impressive supporting cast helped the film feel very realistic which, I suppose, it naturally should have done as the events portrayed in it are rooted in reality. In many ways, Zero Dark Thirty is so effective and affecting because of this immediacy: there's a chase sequence in the frantic streets of Pakistan which, in any other film, would have had the veneer of the inconsequential Hollywood action sequence. The scene, however, is genuinely gripping and a sense of consequence is strongly developed by Bigelow. The film's subject matter dominates the news today, something which makes it all the more unsettling.

Bigelow's direction is superb and it is clear that she is a master of the genre. The film's denouement, despite the entire audience knowing the ending, is brilliantly, almost clinically, constructed and is a real thrill ride. Indeed, the entire film, from its disturbing opening shots of graphic torture to scenes set in White House boardrooms is riveting, largely a result of Bigelow and Boal's combined efforts. Much research has clearly gone into the film (interviews with CIA officials formed a significant part of this research) and the result is a fantastic mix of action, shock, politics and emotion, all underpinned by Chastain. Her character, Maya, remains defiant in the midst of male dominance, is accepted as 'one of the boys' when she finds the compound in which Bin Laden was hiding but, ultimately, remains isolated by the end of the film. A beguiling and tragic final shot sees Chastain as the exemplification of the CIA machine: integral to its inner workings but, in the end, forgotten.

Zero Dark Thirty is technically brilliant, emotionally engaging and manages to condense ten years of complex and difficult events into a screenplay which is a worthy follow up to The Hurt Locker. Its supposed politics aside, it scenes of torture are graphically portrayed but, to not do so in a film about this subject, would have been nearly impossible. It is an intelligent film, about intelligence gathering. Oh, and Jessica Chastain – wow. 

Clapperboard Rating: * * * * * 

Les Misérables

I can safely say that I was not looking forward to going to see Les Misérables. But, like going to the dentist, it was somewhat of a necessity. So I bit the bullet and went along with a few friends, both of whom were more enthusiastic than me (not that that would have been difficult). To be fair, I had no idea what to expect: I haven't seen the stage musical, read the original book and, like most people, I can only sing the first line of 'Do You Hear The People Sing' before slipping into humming the tune. And my conclusions? Les Misérables is a cinematic assault – and a 2 hour 40 minute one at that...

There are no prizes for guessing what Les Misérables is about but for those who don't know the plot, the story is set in revolutionary France where Jean Valjean (Hugh Jackman), who for decades has been hunted by the ruthless policeman Javert (Russell Crowe), agrees to care for factory worker Fantine's (Anne Hathaway) daughter and this fateful decision changes their lives forever. Looking back at the past sentence, you get an idea for the range of acting talent which is displayed in the film. Supporting cast members include Amanda Seyfried, Sacha Baron Cohen, Helena Bonham Carter and Eddie Redmayne, all doing their own singing live on set (or, in Crowe's case, attempting to sing).

All of the performances are confident and accomplished, constructing characters which, at times, cease to be mere caricatures of the peasantry and become genuinely engaging and emotive. Anne Hathaway, on screen for only fifteen minutes, is staggeringly good and her rendition of 'I Dreamed A Dream' may well win her the Oscar for Best Supporting Actress. Jackman gives an equally impressive central performance and his physical transformation from gaunt and emaciated convict to powerful business man and father was very convincing. He wasn't half bad at singing either. In fact, I was very impressed by the authentic feel which singing live on set gave to the songs, most of which I'd never heard and – if I'm being brutally honest – don't have the wish to hear again.

Les Misérables is certainly an experience: the film, from the opening scene, immediately hits fifth gear and doesn't stop until the credits role. Its sweeping shots of Paris and its inhabitants, expertly conceived by director Tom Hooper (The King's Speech) open up the world and make it totally consuming and captivating. Hooper has really understood how to use cinematic devices to build upon the stage show and create an experience which would be impossible within a theatrical context. Hooper's revolutionary Paris is gritty, threatening, squalid and the attention to detail of the production design is first class. Placed alongside the performances and the technical aspects, Les Misérables certainly is an achievement of which to be proud.

Things weren't all rosy, however, and I did feel the film begin to drag in its third act. Maybe the singing had worn me down, maybe I was just wishing it was Mamma Mia! and was waiting for Valjean to break into dance. In short, I think it could have shaved off a few musical numbers which would have made the whole thing a bit more digestible. But perhaps this isn't the point.

Les Misérables is an experience, a full-on musical assault which takes no prisoners and demands that the audience go along with it. If you're a fan of the musical, you'll adore it. If you're not, it will most probably win you over. There's a lot to like, although its not perfect. But in the moments when it does work, it is simply brilliant. And that is why it gets four stars...

Clapperboard Reviews: * * * *