From the offset, Crimson Peak puts itself in it's place. "Ghosts are real – this much I know...". This is the voice of young Edith Cushing, played by Alice in Wonderland's Mia Wasikowska. In the first scene we see Edith as a child, in bed, afraid of a banging outside of her bedroom. The incredibly well CGI-ed ghostly figure that haunts her is that of her late mother, coming to warn her of "Crimson Peak".
We then skip to Edith, a young, headstrong woman from Buffalo who's aspirations are only to become a successful writer. Surrounded by the pressures of finding love at an early age and settling down, she brushes such pressures aside and acclaims herself as a strong individual, whose own goals come before that of any man. In comes Thomas Sharpe (Tom Hiddlestone - Avengers), a charismatic baronet who seeks the financial backing of none other than Edith's father, Carter Cushing (Jim Beaver - Supernatural, Dexter). Despite her desperate attempts, Edith succumbs to Thomas' charms. Her father though is wary, after refusing investment to Thomas' plans, the two share an unwelcome chemistry.
And so to Crimson Peak, the household to Thomas Sharpe and his creepy sister Lucile (Jessica Chastain - Mama). After an untimely and frankly brutal loss in the family, Edith moves in with Thomas and co, unaware of her new surroundings' chilling secrets. As well as rotting walls and strange siblings, Crimson Peak is also home to a host of very familiar looking ghosts.
Edith can't help but explore her new home, and quickly comes across some extremely dark corners to Crimson Peak. New ghosts haunt her wherever she roams, and it seems the undead don't mean to scare Edith, but to warn her, just as her late mother did all those years ago.
Charlie Hunnam (Pacific Rim) joins the star-studded cast as Edith's friend and young doctor, Alan Michael. He acts as a parachute for Miakowska's Edith, always there should her strong sense of character not pull her through; which nine times out of ten, it does. He also adds as another red herring to the ever-growing plot line.
Aside from the brilliant storytelling and the nothing-short-of stainless acting, Del Toro and his team have created a visually stunning and encapsulating thriller. The house itself feels alive, the way it seems to breath as a gust flows through it, and the way it seems to bleed as the snow falls through its rotting ceiling onto the velvety clay-sodden ground below.
At the heart of the movie is a tale of horror, but not one set by the dead souls that haunt Edith. It's the twisted tale of her new husband and seemingly-deranged sister Lucille (who Chastain creates fantastically) that makes it's mark. The final showdown is one of graphic brilliance, and really shows off Del Toro's already established film making genius.
Crimson Peak isn't your standard horror or thriller, it's more a gothic romance. Nonetheless, it's brilliant. It contains some killer performances, awesome set design, and plot twists that'll make you think twice about ever dreaming of Tom Hiddleston again.
Monday 16 November 2015
Review - Legend (2015)
Don't be fooled, this isn't just a 1960's gangster movie, full of violence and cockney slang. This adaptation of the famous Kray Twins rise to crime lord status is much more than that, its deeper, darker and also much funnier than any take before it.
Although it feels like an American gangster movie, Legend is a biopic on an exuberant scale. Undeterred by the fist fights and dodgy dealings, it's a very clean film, a pleasure to watch. The 60's looks cool, old Ford's shining in the streets and music stars starring in the clubs. The soundtrack isn't one to be missed either, rivalling the coolness of Guardians Of The Galaxy, only with more Burt Bacharach.
Helgeland skips the boxing years of the Kray twins youth, and instead moves straight to the jumping 1960's. With Reggie already a self-proclaimed prince of the East End and Ronnie controversially being released from a mental institute.
As well as being the movies narrator, Frances Shea (Emily Browning, Sucker Punch) also becomes Reggie's love interest, and gives a backlight into Reggie and Ronnie's relationship as the film progresses. Although a key figure, and ultimately a catalyst in the Kray's crime-fuelled experiment, Browning's Frances is overshadowed by what can only be known as yet another stupendously delivered fantastic performance by Hardy.
His Reggie is an arrogant yet charming "businessman", madly in love with Frances and madly in love being (but never admitting to being) a gangster. His Ronnie is a paranoid schizophrenic, a violence-fuelled family man who's love for his Mother's tea is overpowered only by his love of young men. Ronnie is a theatrical character, brought back down to earth by either Reggie's way with words, or Reggie's right fist.
At times it's hard to take this movie seriously. Scenes of graphic violence are sandwiched between Ronnie in a near Little Britain-esque comedy sketch and Reggie in an endearing love scene (be it in prison or not). That being said, its entertaining, from start to finish, and climaxes with a conclusion that can only be taken seriously.
In the final third of the movie Browning comes to life. Frances becomes a stronger woman and with it Browning becomes a stronger actress. Although Hardy's delivery is nigh-on impossible to criticise, she stakes a fantastic claim for herself in a supporting role.
Hangeland has landed on his feet with Legend, producing a fine script with a fine host of actors to see it through, two of which, are Tom Hardy. Humour weaves itself around the script from top to bottom, smoothing a softer edge on an otherwise tragic love story. Hardy amalgamates into two actors in a effortlessly seamless double-headed production, and undoubtably steals the show.
Although it feels like an American gangster movie, Legend is a biopic on an exuberant scale. Undeterred by the fist fights and dodgy dealings, it's a very clean film, a pleasure to watch. The 60's looks cool, old Ford's shining in the streets and music stars starring in the clubs. The soundtrack isn't one to be missed either, rivalling the coolness of Guardians Of The Galaxy, only with more Burt Bacharach.
Helgeland skips the boxing years of the Kray twins youth, and instead moves straight to the jumping 1960's. With Reggie already a self-proclaimed prince of the East End and Ronnie controversially being released from a mental institute.
As well as being the movies narrator, Frances Shea (Emily Browning, Sucker Punch) also becomes Reggie's love interest, and gives a backlight into Reggie and Ronnie's relationship as the film progresses. Although a key figure, and ultimately a catalyst in the Kray's crime-fuelled experiment, Browning's Frances is overshadowed by what can only be known as yet another stupendously delivered fantastic performance by Hardy.
His Reggie is an arrogant yet charming "businessman", madly in love with Frances and madly in love being (but never admitting to being) a gangster. His Ronnie is a paranoid schizophrenic, a violence-fuelled family man who's love for his Mother's tea is overpowered only by his love of young men. Ronnie is a theatrical character, brought back down to earth by either Reggie's way with words, or Reggie's right fist.
At times it's hard to take this movie seriously. Scenes of graphic violence are sandwiched between Ronnie in a near Little Britain-esque comedy sketch and Reggie in an endearing love scene (be it in prison or not). That being said, its entertaining, from start to finish, and climaxes with a conclusion that can only be taken seriously.
In the final third of the movie Browning comes to life. Frances becomes a stronger woman and with it Browning becomes a stronger actress. Although Hardy's delivery is nigh-on impossible to criticise, she stakes a fantastic claim for herself in a supporting role.
Hangeland has landed on his feet with Legend, producing a fine script with a fine host of actors to see it through, two of which, are Tom Hardy. Humour weaves itself around the script from top to bottom, smoothing a softer edge on an otherwise tragic love story. Hardy amalgamates into two actors in a effortlessly seamless double-headed production, and undoubtably steals the show.
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