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Fascinating Film Reviews From The Arts Desk
A range of interesting movies have been viewed by The Arts Desk this week and critics have released a shiny new batch of film reviews to go with them.
José Padilha’s Brazilian blockbuster ‘Elite Squad: The Enemy Within’ is arguably the best and most political action film of the year. Captain Nascimento played by Wagner Moura, leads the elite Rio police force in the film, through personal and political tensions, encompassing endemic corruption of every kind from drugs to riots to protection rackets. Boasting some superb lead performances, it's gripping from the off and is incredibly fast-paced and energetic.
Hollywood's latest take on the popular sci-fi staple comes in the form of 'Rise of the Planet of the Apes', set in modern-day San Francisco. A super-intelligent simian is accidently created by James Franco’s scientist who is working on a cure for Alzheimer’s, which soons leads to a full-scale ape rebellion against humans. The high-tech motion-capture effects are impressive, but the plot is a clunky mixture of sci-fi tropes and left Adam Sweeting feeling unimpressed.
In other movie releases, Dominic Cooper had a tough acting job in ‘The Devil’s Double’, where he played both Saddam Hussein’s depraved son Uday – a man who rapes, murders and maims at will - and Latif Yahia, the man forced to act as his official lookalike. Cooper plays Latif as contrastingly taciturn and stoical, while Uday is portrayed as the full unhinged pantomime villain, as he aims to differentiate between the two characters. The plot gets less convincing as it goes on, as it becomes more reliant on cliché, and while the feel is undoubtedly right, Uday seems too banal, and Latif too passive.
In this week's DVD releases, Nick Hasted found that Pedro Costa’s study of migrant workers in Lisbon, ‘Colossal Youth’, transcended art cinema into a contemplative and realistic portrait of wounded, exiled individuals. Brek Taylor’s beautifully shot indie film ‘Island’, adapted from Jane Rogers’s novel impressed Tom Birchenough, while he was also struck by Natalie Press’s characteristically raw performance in Elizabeth Mitchell.
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