Tales of Acquiesce Film Reviews

Drive, a slick L.A. set heist film starring Ryan Gosling, Carey Mulligan and Albert Brookes. Set in the City of Angeles, Drive is a story about an unnamed driver (Ryan Gosling), who takes a wrong turn and is set up during a job he offers to complete in order to help his friends husband. With one million dollars of some gangsters money, the driver’s efforts to return the money without any repercussions soon becomes a distant memory as he is hunted down by gangsters.

Upon the film’s release, it received critical acclaim, and was given a score of 8.2/10 by review aggregate Rotten Tomatoes, making it a ‘certified fresh’. Despite this however, some reviewers have come to question the films integrity to the original story by James Sallis, also called ‘Drive’. Peter Bradshaw, a reviewer for the Guardian, said: “Drive is a movie with power but is still directionless; the acceleration is great, but the steering needs looking at” – perhaps, but let’s not get ahead of ourselves.

Drive is a film that had been on the table since 2008, originally planned as a Hollywood blockbuster which was set to be directed by Neill Marshall and star Hugh Jackman… I know, can you imagine? However, by 2010, Ryan Gosling was in the driver’s seat, armed with his own choice of director. He chose Danish filmmaker Nicholas Winding Refn (Pusher Trilogy, Bronson) to direct the film, who was more interested in the concept of The Driver having a split personality (stuntman by day, getaway driver by night) than the story itself.

Together, Gosling and Refn drove around the city of Los Angeles at night, finding the locations for the film. When Refn moved to Los Angeles to make the film, he requested that the cast move in to his home, and that the editing suite must also be there. With the concept ready, filming began in September 2010, leading to a September 2011 release.

I watched this film not long after its release date, and at first, I couldn’t figure out what to think. My expectations for this film were high; high enough to make the film feel worse than it is which didn’t help. Unlike quite a few other people, the trailer for ‘Drive’ hadn’t led me to the conclusion that the film is going to be another car racing action film along the lines of The Fast and the Furious. I knew what I was in for, an arthouse indie flick that would appeal only to those that had seen films outside of Hollywood. I also knew that Drive was going to be a unique film, a film that would break the conventions of the genre it is rudely placed in, and create a genre of its own.

We start with Goslings performance in the beginning of the film, where he is showing how is character, Driver, works. These first ten minutes are what will get you glued to the film; from here on out, it has your total undivided attention. The Driver has his five minutes, he outsmarts the police and finishes his job effortlessly, leaving the car and going home the moment it’s parked. Then comes the opening credits: A 1980s style montage with music by Kavinsky, featuring the Driver doing what he does best through the dark streets of Los Angeles… Driving.

Gosling’s performance as the quiet Driver is what made the character so loveable. Despite his flaws, mainly being that beneath his soft and quiet exterior, he is a brutal and strong man who would stop at nothing to get the job done; you can’t help but fall in love with Goslings portrayal of the mysterious Driver. He is the true definition of an antihero, a type of character that most audiences love.

The film then moves onto the introduction of Carey Mulligan’s sweet character, Irene, the Driver’s romantic interest in the film. Mulligan gives an outstanding performance, her portrayal of Irene, a single mother with a 7 year old son and a husband in jail is perfect and believable. You are mesmerized by Irene; you admire her and her calm attitude towards everything. She not only handles her own life well, but also her husbands, and manages to tame the mysterious Driver too.

As the story plays out, the films slow and relaxed narrative becomes more action packed and fierce. The angering of the mob, the death of several characters and the intensity of the Driver’s situation, all add to the Driver’s character, which has gone from being the calm man in the beginning, to being the merciless man who will stop at nothing to protect the ones he loves.

Armed with fantastic cinematography, unique dialogue and lovable characters, this film is good. However, with an extraordinary cast, extremely talented director and fantastic mise-en-scene, this film is perfect. I highly recommend this film; don’t let the few bad reviews cloud your judgement of this film. It is something that can easily be misunderstood, which is what lets it down. Apart from that, unbelievable piece of cinema – a must watch.

Original Date of Review: November 2011

The Yellow Sea is a Korean crime-thriller by Na Hong-jin, a South Korean film director who you might also know for his previous film, The Chaser. The story follows a Yanbian taxi driver Ku-Nam, who suffers from a gambling addiction, as well as owing a lot of money to the wrong people and suspecting that his wife, who recently left for South Korea to send money home, is being unfaithful. As his debt becomes too much for him, he is approached by underworld crime boss Myung-Ga and tasked to kill a man in South Korea, in exchange for $10.000. However, as events in South Korea unfold while Ku-Nam performs his task and searches for his wife, more and more are drawn into Ku-Nam’s mess including the police, South Korean Mafia and the Chinese Mafia.

Does the film work? The film performs well as a thriller; the cinematography only compliments the fantastic dialogue and gritty action scenes including car chases, knife fights and dismemberment. This truly incredible blood bath of a film leaves you on the edge of your seat for its entire two and a half running time, and makes sure you leave the cinema with only positive things to say. However, The Yellow Sea does contain flaws like any other film of its kind. It attempts to jump several hurdles at once, by including horrifying violence as well as typical thriller conventions. The film can become overwhelming, often displaying very graphic violence and towards the end, becoming a little side-tracked with the car chases and knife fights.

How would I rate this film? Despite the repetitive violence towards the end, the films narrative was solid and was a fantastically entertaining thriller. Na Hong-jin has created a very powerful film, and one I would recommend to most.

Original Date of Review: September 2011

So, here it is: Tirza. A Dutch drama film written and directed by Rudolf van den Berg, and based on the novel by Arnon Grunberg. Let me start by saying that when choosing to watch a foreign film, you’re making a big step. Most of us are used to Hollywood blockbusters and maybe even independent cinema from America and few of us are educated in foreign films. It’s well known that films outside of the American industry can be very different in the way they’re filmed, the dialogue used and the things that the country deems suitable for film, which can be drastically different to the things that you’re used to. Tirza is a Netherlands film, an industry you don’t hear much about. Mainly because their industry, much like the UK’s, is very small compared to America’s or India’s.

Tirza tells the tale of a man looking for his daughter. Sound familiar? Well, it is. For example, some of you might have seen a film called Taken, which has a similar narrative. Tirza however approaches it from a very different angle, one that makes this film unique. It explores the main character, Jörgen, and his state of mind. His world is crumbling, he’s forced into early retirement, he is harassed by his ex wife, his daughter Ibi has run off with her boyfriend and his other daughter, Tirza, has disappeared.  In search of his daughter in Namibia, Jörgen is followed by a child prostitute who eventually helps him with his quest to find his daughter. Gijs Scholten van Aschat gives a spectacular performance as Jörgen in this Dutch tale of love between father and daughter. Unique in every way, Tirza is a film you need to experience to understand the true concept of foreign cinema. An extremely enjoyable film, I recommend watching this film.

Original Date of Review: September 2011

When asked to describe a film with one word, you usually try your hardest to sum it up with the best word possible. Some films are intense, explosive, dark or incredible. Late September is something I would describe as beautiful. Directed by Jon Sanders and starring Anna Mottram (Holby City, Doctors), Richard Vanstone (Eastenders, Low Tide), Bob Goody (Flash Gordon, Low Tide) and Charlotte Palmer, this film is a story of love in a not so conventional sense.

It depicts the course and aftermath of a birthday party, celebrating Ken’s (Vanstone) 65^th. During the party, feelings are shared and tensions brew between the characters, most of whom share love in different ways. Without spoiling the film for anyone reading this, I won’t mention who. I will mention however that it covers love from all kinds of different angles: Divorce, separation, rejection. Sound depressing? I disagree; the film is a beautiful account of real life and is well played through these various actors and actresses. You should also note the films astonishingly low budget (compared to some of his previous work), improvised dialogue and fantastic cinematography.

Director Jon Sanders (Low Tide, Prairie Doves) has created a fantastic film with a low budget and perhaps unheard of actors and actresses. Late September is a film that you won’t forget; it’s unlike anything I’ve ever seen before. Fantastic soundtrack, wonderful setting (Kent Countryside) and surprisingly relatable characters. Don’t be fooled by how obscure the film may appear to be, Late September is a film that is definitely worth watching. However, for those of you that like an engaging film that keeps you entertained, it might not be what you’re looking for. 

Original Date of Review: September 2011