Lubezki

"45 Years" is a great demonstration on how to evoke so many layers of emotion and inner turmoil with a fairly simple filmmaking approach. These types of stories have been told lots of times and probably a bit better (Mike Leigh promptly comes to mind). But what director Andrew Haigh does here which provides the film it's gut wrenching sensation is that he writes these characters with so much depth and naturalism that the events that slowly unravel begin to make the film more and more despondent as it goes on.

Here we have a happily married couple getting ready to celebrate a milestone 45 year anniversary, only for an untimely piece of news regarding Geoff's (Tom Courtenay) past flame whom has passed away, which puts a spanner in the works. Being such a long time ago it would be feasible to think that this won't affect their current relationship, but suddenly all these memories come storming back and he suddenly gets caught in a sort of time warp. He brings her up at every opportunity, he can't stop talking about her. And this is where the film skillfully shifts it's focus onto Kate's (Charlotte Rampling) character. What she once thought was a perfect marriage filled with unbridled endearment immediately turns into a self-doubting thought process. Does he really love me? Am I his one and only?

Rampling is just extraordinary. Subtle in her expressions and exterior but inside the hurt is palpable. No showy antics, no histrionics - simply a masterclass in masking her grief. Haigh uses the bleak Norfolk countryside to great effect, placing her in the center of surroundings that perfectly illustrate what she's feeling -- forlornness and heartache. Courtenay is excellent as well, though not quite as affecting. But what he does brilliantly is convey the actions of an individual that can't quite come to terms with this news and it sets off a chain reaction of resorting to bad old habits and outlandish behavior.

The final scene however couldn't have been crafted any better if they tried. Whilst directed with so much grace and acted wonderfully by Courtenay with his anniversary speech, it was Rampling who elevated it to devastating effect . The words may have been music to the ears for many, but for her it was just so bittersweet because she didn't feel that same affection. She displays a multitude of emotions throughout; smiling, laughing, sorrow, melancholy. Her mind is constantly in a state of befuddlement. What should be one of the greatest nights of her life is far from it. And then the dance, which honestly made me tear up. Not only for Ramplings acting and heartbreaking final shot, but the lyrics to the song pretty much summed up everything that was destroying her;

"When that lovely flame dies Smoke gets in your eyes"

Their marriage may live on, but it will now always be shrouded with her belief that her husband doesn't hold the same love for her that he once had, and this woman from days gone by will always be present for the rest of their lives.

"45 Years" is a slow burning, intricately designed exploration of the underlying grief us humans undergo when in tough times. It's both beautiful and harrowing, aided by incredible performances.

Let's get one thing straight; Terrence Malick's films aren't exactly everyone's cup of tea. They're arguably the most unconventionally crafted movies from a well renowned director out there. Audiences normally criticize him for being highly pretentious and having no meaning in his work. But for some, his films represent everything we love about the artistic medium of motion pictures. With his latest offering, "Knight of Cups", Christian Bale stars as a screenwriter eager to explore his seedy persona in the dreamlike whereabouts of LA.

The film swoons along with a plethora of illusory montages, with Bale being Malick's primary focus as he trudges through the streets of downtown L.A., bizarre nightclubs swarming with vibrant dancers, house parties exclusively for the rich and meditative walks through the desolate wastelands of the Las Vegas desert. For the majority of the film he cuts a forlorn figure, basically looking to find some sort of significance of his life and finding the answer to faith. And in typical Malick fashion, none of what we see on screen is straightforward and we're left to determine our own meaning on the gorgeously composed images. Cinematographer Emmanuel Lubezki once again has a vice like grip on how to bring an ethereal visual lyricism to surroundings.

Malick is one the very few directors who really embraces the beauty of artistic filmmaking. They may not follow a clear cut narrative, but there's no doubting that there's an alluring poetic rhythm that's present in his films. The key is for the viewer to figure out what Malick is attempting to portray. And even if you can't, just go along for the experience. Simply put, if you enjoy his films, you'll most likely find some sort of reward with this.

"Joy" marks the third film that director David O. Russell and Jennifer Lawrence have joined forces, following on from 2012's brilliant "Silver Linings Playbook", and the less impressive "American Hustle" a year later. With this latest offering, O. Russell decides to explore the story of Miracle Mop inventor Joy Mangano and her rise from struggling Mother in onerous money problems to a business aficionado.

O. Russell's strength usually lies in his writing but here it eludes him, making for a story that can never be fully realized. He seems to get caught in between two minds with what to tell and how to tell it. There's a lot of unnecessary scenarios and cheesy sub-plots wedged into the main narrative, which is essentially the film's downfall. In addition to that, the slew of characters we're presented with don't particularly add anything notable. O. Russell has always had a knack for creating memorable roles for his actors but the talented cast which include Robert DeNiro, Isabella Rossellini, Diane Ladd & Bradley Cooper feel almost like filler parts, with none of them able to really make much of an impression.

The film's most redeeming quality however is the star herself. Lawrence gives a lively and unwavering performance, doing just about enough to make us give a damn about Joy Mangano. But like her co-stars, the script stifles her from doing more with the character. Good work from Lawrence, but it's a missed opportunity because she could have been great.

There's not much to write home about when it comes to "Joy". We've seen these tales of people in hardship striving to turn their life around told many a time. This film doesn't stand out in any way from the others due to the sloppiness of the screenplay, pacing issues and lack of care. Lawrence is the only saving grace in an otherwise tepid affair.