Zero Dark Thirty (2012) // dir. Kathryn Bigelow

Four years after her Best Picture Oscar glory with bomb disposal flick, The Hurt Locker, Bigelow sticks to her military sized guns, but this time with even bigger ammo. Returning to the warfare genre, Bigelow attempts to tackle the story behind the capture of the worlds most wanted terrorist, Osama bin Laden. After only being consigned to history for two years, this is a brave step. But is Zero Dark Thirty a genuine insight into the biggest manhunt ever, or just Hollywood propaganda?

It is almost impossible to talk about Zero Dark Thirty without drawing parallels with recent smash-hit, award winning TV series Homeland - which tackles similar Al Qaeda related situations, but with a fictional (although still very real) threat. Homeland has pretty much set the benchmark for 'war on terror' drama, keeping it interesting and entertaining without being overly complex. Despite, in parts, feeling like an overlong episode of Homeland, Zero Dark Thirty lacks its TV counterpart's edge of seat intensity and characters for the audience to truly care about. With a wilful first act, it begins on steady footing, but following a nosedive in the almost purgatory-like middle, it struggles to get back on track for its would-be climactic ending.

The ensemble cast is solid, with familiar face after familiar face appearing in various governmental roles (Mark Strong, James Gandolfini, Jason Clarke, and bizarrely, John Barrowman), but this overabundance of big names prevents any real memorable performances - we only witness snippets of what could have been with more attention to character detail and development. But it is poor Joel Edgerton as the Squadron Team Leader, who comes off worst. Despite receiving high poster-billing, his minimal screen time and lack of interaction, ensures that he remains almost forgotten about after the end-credits have rolled. It is left to Jessica Chastain to deliver the standout performance Zero Dark Thirty so desperately needs. Bearing more than just a passing resemblance to Homeland's Claire Danes (there's even a little Sarah Connor from The Terminator in there too...no...just me..?), Chastain exudes the same toughness, and gritty determination and passion towards work. But where Chastain's Maya differs from Danes' Carrie, is that she lacks the personal backstory necessary for Chastain to convey any relatable human qualities and vulnerabilities from screen to audience. Despite this, Chastain delivers, adding another genre string to her already varied acting bow, with a powerhouse performance that is the driving force behind the whole operation - and, consequently, the entire film.

So, is it just Hollywood propaganda? Given the subject matter, there is a danger of Zero Dark Thirty's finale becoming an opportunity for America to give itself a high-five; but with only one "woo-hoo" to be heard, Bigelow manages to skilfully avoid the self-aggrandising clichés of patriotism by cleverly opting for a more pensive and solemn ending.

Never quite recovering from its slip-ups and stumbles, Zero Dark Thirty is an insightful yet flawed first chapter in the bin Laden manhunt. Await further adaptations with baited breath.  

Django Unchained (2012) // dir. Quentin Tarantino

Set two years before Lincoln passes the 13th amendment outlawing slavery, former dentist turned bounty hunter, Dr. King Schultz (Christoph Waltz) simultaneously frees and enlists the help of slave, Django (Jamie Foxx). In return for Django's knowledge surrounding bountied plantation owners, Schultz agrees to help him rescue his wife Broomhilda (Kerry Washington) from the clutches of the infamously evil plantation owner, Calvin Candie (Leonardo DiCaprio).

After getting a taste for subverting history (and subsequently killing off Hitler) in 2009's Oscar-winning Inglourious Basterds, Tarantino is at it again. Swapping Nazi-occupied France for the antebellum Deep South, he attempts to tackle the extremely controversial, and not-so-distant dark past of American slavery. This is a topic that would generally be broached with a level of sensitivity and historic accuracy, but in the hands of neo-noir auteur Tarantino, it becomes a pop-cultural riff on a classic genre; the spaghetti western. Bold move, you say? Tarantino ain't scared.

Judging by the title you'd assume Foxx's titular slave would be the centre of the Django Unchained universe, with the supporting cast orbiting around him, right? Wrong! It's all about bounty hunter Waltz; swaggering across the screen, and brimming with so much irreverent charm, that Foxx occasionally feels like a backstory in his own film. But eventually, Foxx frees himself from his metaphorical chains and steps out from Waltz's shadow in the show-stopping shoot-em-up finale. Despite Waltz's slight superiority, the pair do make an unlikely, compelling and almost brotherly pairing; the films first act feels more like a road-trip buddy movie than a satirical swipe at slavery. But this mix and match of genres is Tarantino's forte, and he navigates between them all with complete ease. Stealing the limelight entirely is DiCaprio, on terrifyingly brilliant form as malevolent plantation owner Calvin Candie. As one of this generation's most unrivalled actors in terms of commitment and consistency, this should've been the year he finally took home that golden statuette. But he has yet again been criminally overlooked in this years awards season; you can't help but feel that the Academy Awards are an annual wedding in which DiCaprio is always the bridesmaid, but never the bride. 

Django Unchained is a minefield of in-jokes and trivia which will make die-hard spaghetti western fans 'yee-haw' with glee. But for the rest of us, we can simply revel in the enjoyment of what is a typically Tarantino affair. With his inimitable B-movie meets blockbuster mash-up style, he eschews CGI in favour of the old-school effects he was inspired by. All the elements of previous Tarantino offerings are here - the gratuitous swearing and use of the 'n' word, the anachronistic score, the loquacious dialogue, and the ultra-violent B-movie effects - and Django Unchained is all the better for keeping faithful to his well revered style. It might not be an entirely flawless film, but it's the imperfections and incongruities that make Django Unchained both mind-boggling and mind-blowing in equal measure.

Ultimately though, Tarantino is a true cinephile making films for other cinephiles, and the level of care and precision put into his films ensures maximum viewing pleasure for his audience. One of the finest, yet atypical and unorthodox filmmakers of our generation; it's fair to say no one makes a film quite like Tarantino.

Silver Linings Playbook (2012) // dir. David O Russell

Following an 8 month stint in a mental hospital, bi-polar Pat (Bradley Cooper) heads home to re-build his life and reconcile with his estranged wife, Nikki. But things become complicated when Pat meets a recently widowed and depressive Tiffany (Jennifer Lawrence). In exchange for Tiffany's help in contacting and reconnecting with his wife, Pat (reluctantly) agrees to be Tiffany's dance partner in an upcoming competition. The pair form a rocky, but touching, friendship and when the dancing competition approaches, it is more than just friendship on the line...

Achieving the same level of success as his previous award-winner, The Fighter, was always going to be an arduous task for O Russell. A dramedy about mental health might seem like a hard-sell, but with the appropriate balance of sensitivity and humour, and two charming yet believable protagonists, Silver Linings could just be the perfect follow up. Without a doubt, casting Cooper and Lawrence was O Russell's masterstroke. Both leads are extremely likeable, and the chemistry between the two is positively electric - cue a multitude of intense stares and almost-kisses. Cooper displays gravitas and convinces as a bi-polar sufferer, but it is scene-stealing Lawrence that keeps Silver Linings engaging. By incorporating all the feistiness of Katniss, and the vulnerability of Ree from Winter's Bone, Tiffany becomes a complex amalgam of Lawrence's previous notable roles. However, it is the injection of Lawrence's own, natural, razor-sharp sense of humour that gives Tiffany an extra, more relatable, dimension. The nod from the Academy, and the recent Golden Globe win are undoubtedly deserved. The supporting cast are equally as strong, with a both refreshing and reassuring turn from Robert de Niro. After so many years of headlining plotless 'paycheck' movies - (I know we all have to pay the bills somehow Robert, but COME ON, you were Travis Bickle! Where along this road of soulless 'comedies' did you lose your integrity, Robert, WHERE?!) - he retains his dignity, and slips back into a role of some substance as Cooper's football-loving, gambling addict, OCD suffering father. But, it is Animal Kingdom's Jacki Weaver as Cooper's stoic, yet passive, mother who is the anchor struggling to keep her family grounded.

So often has Hollywood portrayed mental illness as dangerous and violent, that Silver Linings is a rare delight; highlighting the everyday vulnerabilities and hardships that coexist with mental health such as, familial strains and social struggles. But it only dips its toe into the ocean of these hardships, rather than swimming around in its murky depths. Anything that is on the borderline of being "too serious" is quickly countered by something amusingly kooky; after all, it still needs to be kept audience-friendly. But as the final act starts to meander down the very well trodden path of familiarity, the time arrives for the romance that has been simmering under the surface, to bubble over for the inevitable happy ending. And thus, the issues of mental health are swept under the proverbial rug.

Silver Linings is a feel-good comedy drama with an ending to soften even the hardest of hearts, but disappointingly leaves a lot of its core issues either underdeveloped or unaddressed. 

  
Vertigo (1958) // dir. Alfred Hitchcock

A timeless and influential classic from the Master of Suspense.

Vertigo was recently heralded 'The Greatest Film of All Time' in Sight and Sound magazine's 10 yearly poll, unexpectedly toppling Citizen Kane off the top spot following its 5 decade long reign. But is it a film worthy of such a renowned accolade? Vertigo is an exploration of love, obsession, deception, and of course what would a Hitchcock film be without a murder? James Stewart is John "Scottie" Ferguson, a newly retired police officer following an accident relating to his acute acrophobia. An old college friend convinces John to reprise his detective role and investigate his wife Madeleine's (Kim Novak) unusual behaviour. After an incident at San Francisco Bay, the pair fall in love until her untimely death rips them apart. Following her demise, Scottie becomes obsessed with a Madeleine look-alike he meets outside a flower shop. But is she all that she seems? In their 4th collaboration, Stewart proves why he was continually selected to play the relatable, and humble everyman in Hitchcock's murder-mystery thrillers. Relatively unknown at the time, Novak seemed an unusual choice to join the famous list of  "Hitchcock blondes", but her anonymity added to the intrigue necessary for her already desperate and vulnerable role. Aside from the performances, Hitchcock's use of clever camera trickery, and the almost hallucinogenic nature of some scenes cements his status as an innovative visionary, way ahead of his time. But, Vertigo would not be complete without its memorable musical score, composed by Hitchcock favourite Bernard Herrmann. It is as atmospheric as it is haunting, and fits Vertigo's mysterious tone perfectly. Famously ignored upon its original 1958 release, critical acclaim for Vertigo has snowballed during the intervening years, solidifying its status as one of the true classics. The Hitchcock's of the modern era are indebted to Vertigo, with reputable directors, such as Martin Scorsese, citing it as one of his biggest inspirations.

So, is it really the greatest film ever? Maybe, maybe not. But one thing is certain, without its lasting legacy and influence, it's questionable whether some of the films we know and love today would have ever been made. So for that, we should be eternally grateful. Master Hitchcock, we salute you!

The Dark Knight Rises (2012) // dir. Christopher Nolan

The final chapter in Nolan's Bat-trilogy, but can it live up to the hype?

It's been 8 years since the now reclusive Bruce Wayne (Christian Bale) has donned the famous Batsuit. 8 years since The Joker's reign of terror, and 8 years since Harvey Dent's untimely death. Have Commissioner Gordon (Gary Oldman) and his men achieved the impossible and eradicated Gotham's crime, or is it just the calm before the epic, and ultimate storm? Unsurprisingly, its the latter. Comparable more to a hurricane than a storm, enter excommunicated League of Shadows member, Bane (terrifying yet brilliantly portrayed by Tom Hardy); the masked and brutal ringleader of a terrorist army, on a mission to propel Gotham into a pit of anarchy. So obviously, the time has come for Wayne to suit up and face his new arch-nemesis in an attempt to save Gotham and its citizens in a final showdown. Littered with acting heavyweights, the cast is the perfect balance of old Batman favourites (Michael Caine, Morgan Freeman, and Gary Oldman) and franchise newcomers taking on essential roles. Joseph Gordon-Levitt delivers a potentially career changing performance as maverick police officer Detective John Blake. Marion Cotillard is Wayne's not-all-that-she-seems business partner Miranda Tate, and Anne Hathaway is accomplished cat burglar and one of Bane's associates, Selina Kyle. Although brilliantly acted, the films strength comes from Christopher Nolan and his unrivalled ability to meet audience expectations in every single aspect. From his rejection of CGI making the grand set-pieces all the more impressive, to the intelligent screenplay which simultaneously adheres to Batman's comic book roots, whilst maintaining a high level of credibility and integrity that was somewhat overlooked by Nolan's predecessors. Not only is The Dark Knight Rises a solid standalone film, it is the final chapter that neatly ties up this trilogy of memorable and consistent films. Nolan has given the franchise a well needed kick up the backside, following the previous farcical attempts (Joel Schumacher, I'm looking at you), and in turn given a masterclass to those hoping to follow in its footsteps. Nevertheless, The Dark Knight Rises is not without its faults. But when the final cut is this good and this exciting, the minor flaws and plot holes somehow become insignificant.

The most anticipated movie of the year more than meets expectations. The bar for future summer blockbusters has been raised unattainably high.

Moonrise Kingdom (2012) // dir. Wes Anderson

A unique exploration of young love. With scouts. 

Set on the fictional American isle of New Penzance; boy scout Sam absconds from Camp Ivanhoe with his pen-pal love interest, binocular-wielding, classical music loving Suzy. Following a Shawshank-style discovery of Sam's escape, an island wide search begins...The story, when stripped of Anderson's quirks, is essentially one of forbidden love, which could easily meander down the road of predictability and mediocrity. But in the hands of abstract thinker Anderson, it becomes a wonderfully whimsical and kooky tale of love and friendship, but ultimately, it illustrates the highs and lows of growing up. Like his previous films, Moonrise Kingdom is bursting with Anderson's trademark off-beat, droll humour, delivered in a perfectly deadpan fashion by the ensemble cast. Anderson débutants, Bruce Willis (chief of police) and Edward Norton (scout camp leader), fit in comfortably alongside old favourites, Bill Murray (Suzy's father) and Jason Schwartzmann (a rival camp leader). Frances McDormand as Suzy's megaphone wielding mother, and Tilda Swinton as the terrifically terrifying Social Services feel somewhat underused in the grand scheme of things. However, it is the children which are truly stand out, bringing a sense of endearing naivety and optimism to the film. Visually, Anderson sticks to his quintessential filming style, using wide lens shots to incorporate the meticulous arrangement of the hand-crafted aesthetics which neatly adorn the backdrop. Wes Anderson films typically divide opinion, and Moonrise Kingdom is no exception. Some may find it overly precocious, and a little too twee to be taken seriously. Whilst the rest will revel in the abstract, whimsical ingenuity of it all - finding solace and excitement in his world of vintage unconventionality. For me, I belong to the latter, utterly consumed in the weird yet wonderful world of Wes Anderson. And I'm loving every minute.

In the past, Anderson has been criticised for favouring style over substance, but when the end product is this self assured and charming, who cares?

Drive (2011) // dir. Nicolas Winding Refn

The perfect blend of effortless style and ultra-violence. Driving never looked so cool.

A mysterious enigma - mechanic and movie stuntman by day, getaway driver by night - known only as The Driver (Ryan Gosling), helps the husband of neighbour and love-interest Irene (Carey Mulligan) to pay his debts owed to Jewish crime lord, Nino (Ron Perlman), and his associate (Albert Brooks). Predictable and familiar this ain't. Drive is a refreshing, restoration of faith in an age full of remakes and sequels. From the tension filled opening, Drive immediately separates itself from other driving films - favouring intelligence and strategy over an adrenaline fuelled, high-speed chase. But it is the passionate, yet forbidden, love between Gosling and Mulligan that ultimately gives the film its heart, and the deliberate lack of dialogue (Gosling and Mulligan opted out of saying most of their scripted lines) makes it all the more poignant. Although it definitely ups the shock factor in the brutality department, the unexpected and extreme violence never undermines Gosling and Mulligan's ill-fated love story. The iconic lift scene begins with such beauty and tenderness, before culminating into a scene of absolute ferocity and aggression; perfectly epitomising the fundamentals and paradoxes of Drive. Despite the fairly simple storyline, and the minimal character development; the amount of human emotion being manipulated guarantees that Drive is a complex, multidimensional affair. For all Winding Refn's achingly stylish direction, and the thumping 80's sounding electro score; this is ultimately Gosling's film. He is truly incredible as the tenebrous, yet passionate and calm Driver - a far cry from The Notebook's pretty boy persona.

Probably the best, yet most overlooked film of 2011, Gosling shows why he is fast becoming Hollywood's leading man.