Tinker Tailor Soldier Spy

I have seen every James Bond movie at least four times (except Quantum of Solace).  I mention that to point out just how much I enjoy spy movies.  I have also read most of the original James Bond books, as well as several spy novels by Robert Ludlum and John le Carré; I mention that to prove that I understand the difference between a James Bond movie and an actual spy film.  The reality (according to the fiction I have read) of espionage is that unremarkable people patiently do a lot of work as subtly as they can, with potentially Earth-shaking results.  When I saw the first trailer for Tinker Tailor Soldier Spy --- based on one of the best action-free spy stories ever --- and saw the excellent cast, I knew I would be in for a treat.  A subtle, quiet treat, but a treat nonetheless.

Above: an action sequence in the film, shown in real time

Control (John Hurt) is dead.  The former head of British Intelligence (AKA SIS, AKA MI6, AKA --- in le Carré's books, anyway --- The Circus) died in disgrace.  Convinced that there was a high-level mole feeding information to the Soviets, Control approved a mission to bring over a defector from the Eastern bloc that allegedly had hard proof as to the mole's identity.  The mission was a failure; the MI6 agent, Jim Prideaux (Mark Strong), was identified and shot (not dead, though), and an international incident was born.  Control and his right hand man, George Smiley (Gary Oldman), were forced into retirement.  The rest of Control's elite inner circle of intelligence men simply moved up a few rungs and have been ruling ever since.

First new rule: reclining seats for the Q-Bert room

After Control's death, Smiley is approached by someone in the British government to investigate a claim made by a Circus operative, Ricki Tarr (Tom Hardy), that there was a mole in The Circus; the incident that made Tarr suspicious happened after Smiley was sacked, so it seems that A) Control was right all along and B) Smiley couldn't have been the leak, since he had no access to Tarr's situation.  Smiley is tasked with finding the double agent amongst the Circus elite, but doing so without The Circus' knowledge, and without direct access to The Circus himself.  That may sound difficult, but that's because it is.  And also because Control was certain that the mole had to be one of his inner circle.  He even assigned them each a code name; "Tinker" was Percy Alleline (Toby Jones), "Tailor"  was Bill Haydon (Colin Firth), "Soldier"  was Roy Bland (Ciarán Hinds), "Poorman"  was Toby Esterhase (David Dencik) and "Beggarman" was Smiley.  Even the most trusted spies in The Circus were suspect.  But if we know who Tinker, Tailor, and Solider are, who is Spy?  That's what Smiley's trying to find out.

...and probably who's on the receiving end of this shot

The acting in Tinker Tailor Soldier Spy is very low-key, but also quite good.  I really liked Gary Oldman's portrayal of Smiley; it is difficult to make a deliberate, contemplative character come to life on film, but I thought Oldman's Smiley was brilliantly cold and calculating, but also jealous and lonely.  His performance was more inaction than action, but I think that's what draws you in.  The rest of the cast (which is pretty huge) is good, but the silence of Smiley is really what this film is about.  Tom Hardy was good as the spy equivalent of a blunt instrument with awful, awful hair. 

Shouldn't spy jackets conceal things better than this?

Rivaling that hair was Mark Strong's combover, although it was nice to see Strong playing a non-villain for a change.  It turns out that he's still fun to watch, even when he's not evil.  John Hurt was probably the most explosive character in the movie, which seems a little odd, given that he's in his seventies, but just imagine him being loud and cranky and you'll get the gist of his performance.

"Get off my lawn!"

The other fairly emotive character in the film was current holder of the coveted "Most British Name" award, Benedict Cumberbatch.  His character was understandably nervous, but I felt he was a little too high-strung at times.

I just like saying his name.  Try it: Cum-ber-batch!

The rest of the cast was made of fine, establish British actors.  Colin Firth is the most noteworthy, but I thought Toby Jones and Ciarán Hinds also gave solid performances.  I also found it interesting to see Konstantin Khabenskiy in a film released in the West that was not directed by Timur Bekmambetov; Khabenskiy basically played the stereotype of a hard-drinking Russian jerk, but he's pretty good at that.

Tinker Tailor Soldier Spy is the first major English-language film from director Tomas Alfredson, and I think he was a good stylistic match to the source material.  For some reason, most of the Swedish directors I have seen have excelled at slowly-paced, subtle films, and that's exactly what this story needed.  I liked how quiet and claustrophobic this movie felt at times, and I thought Alfredson did a great job with the actors.  My only problem was how dense the narrative was.  I like that Alfredson didn't dumb the story down or over-explain things, but this is a movie that demands your attention --- and if you're not sure that it makes sense, you're going to need a few viewings and a flow chart to make a definite conclusion. 

Because Smiley sure as hell won't tell you

As much as I enjoyed this subtle, complex film, I wasn't as blown away as I had hoped.  Tinker Tailor Soldier Spy is definitely a solid movie, but it's not the sort of movie that I want to re-watch in the immediate future.  It's very, very slow --- and I think that pace fits the story well --- so I will need to be in just the right mood to watch this again.  There's isn't anything about the film that I downright disliked, but (aside from the overall consistent quality) there wasn't anything that I positively loved, either.  Oldman was great, but his role is almost an anti-presence in the film; who he isn't spending time with and what he's not saying aloud are kind of his defining traits.  While that was artfully done, it's not the sort of performance that amps me up.  Still, this is a very cerebral spy drama.  It might not exactly "thrill," but it is one of the best examples of what espionage is (probably) truly like.

The King's Speech

"I'm gonna knock you owwwt!  Queen Momma said knock you owwwt!"

I'm reading a lot of post-Oscar snobbery against The King's Speech's Best Picture win, and I don't get it.  If you haven't heard (or don't care), the criticisms have sounded more or less like this:

Of course The King's Speech beat out The Social Network for Best Picture.  It's a period piece with British accents, while The Social Network is about the most cutting edge technology EVER!  Way to take the conservative choice, Academy!

First of all, let me just say that my best film of the year was Inception, not either of these prestige pictures.  That said, I completely disagree with the negative feedback toward The King's Speech.  Yes, it has British accents, but I don't consider WWII-era England as a "period piece;" aside from some ladies' dresses, they still wear the same suits and hats there today.  Heck, according to British "comedy," men still wear the same dresses today.  As for the technology angle, I would argue that this film shows an example of just how powerful technology (in this case, radio) is.  More importantly, though, this is a movie about friendship and overcoming adversity --- and it's not a huge downer!

Prince Albert (Colin Firth) is second-in-line for the British throne.  His father, Albus Dumbledore King George V (Michael Gambon), a forceful personality, is getting on in years and laments that he will have to pass the crown on to his playboy son, Prince Edward (Guy Pearce).  Edward isn't a bad guy, but he's not prim-and-proper, like royalty should be, and he has a tendency to sleep with married women.  Obviously, it's okay for British noblemen to have sex with married women --- the primae noctis decree was clearly supported in Braveheart --- but you're not supposed to keep a relationship going with them!  That's peasant behavior, man!  It's just as well, though; in these modern times (the 20s and 30s), it is becoming increasingly expected that the King and Princes will give public addresses on that new-fangled radio box.  In another fascinating concession toward popular trends, here is a clip of Edward and Albert (I assume) dancing the Charleston to the music of the times:

Edward is handsome and a good speaker, like his father, but Albert --- well, he's got a bit of a problem.  Albert has a stammer, a stutter, a speech impediment, or whatever you want to call it.  His speeches are punctuated with long, awkward silences that draw attention away from whatever he's supposed to be talking about and embarrass him and everyone listening.  Awkward!

Okay, fine, the man isn't a public speaker.  Neither are most people.  The only problem is that his "job," such as it is, won't let him avoid public speaking.  Tired of seeing her husband humiliated in public and private by his stammering, Albert's wife, Elizabeth (Helena Bonham Carter) decides to approach an unconventional therapist after all the traditional doctors have failed.  This therapist, Lionel Logue (Geoffrey Rush), is a transplanted Australian with some radical ideas --- he wants to be informal with the Prince!  Gasp! --- but he is able to prove his theories relatively quickly.  Unfortunately, George V opts to check out of life's grand hotel a little earlier than was convenient, which makes Edward the king.  Ed's insistence on marrying his lady love (an American multiple divorcee), partying with commoners and generally acting un-kingly alienates Parliament and just about everybody else.  When he is faced with his crown or his woman, Eddie chooses the lady and resigns his post.  That makes Albert the new King of England, and he assumes his new rap name kingly name of George VI.  Soon afterward, Parliament declares war on Germany, and AlbertGeorge VI needs to give the most important public address of his life to an audience that could cover as much as a quarter of the world.  Can Lionel and AlbertGeorge fix his stutter in time?


I have to admit that I really enjoyed this movie.  The acting was great.  Colin Firth, who wastes his talents so frequently on romantic comedies, is wonderful in an understated performance.  I love laughing at people, but I didn't laugh at his stutter even once in this film --- that is quite an accomplishment for this creative team.  His character was very well written, too; it can be difficult to identify with the problems of royalty, but focusing so much on Albert's perception of his duties and the embarrassment that comes with not being able to communicate was endearing to watch.  When Bertie failed, I felt awkward; when he made progress, I felt proud.  That's some damn fine filmmaking, right there.  Geoffrey Rush was also very good.  I picked him as my Best Supporting Actor of 2010 because he did a great job playing a no-bullshit, I'm-right-and-I-know-it type, while simultaneously being the embarrassing father to his sons and being justly afraid of his wife.  It was a well-rounded performance that felt very real.  Helena Bonham Carter was also good as the supportive wife --- definitely a solid supporting performance --- but I would have liked to see her develop a personality of her own, outside of "I'm helping my husband."  The rest of the cast was fine, excluding Timothy Spall, who did a pretty annoying impression of Winston Churchill, and a pretty standard interpretation of a self-important religious guy by Derek Jacobi.  And am I the only one who found it funny that Rush's character is called out for being Australian, but Guy Pearce (another Aussie) was playing a British Prince?  ...maybe it was just me, then.

The direction by Tom Hooper was interesting.  Obviously, with some of the best performances of the year in his movie, Hooper must have done a pretty good job of directing.  It goes beyond the simplicity of a good working relationship with the cattle actors, though.  Hooper was able to hit all the right emotional buttons with this movie, overcoming any resistance from Recession-era America.  The politics of the film was played down and Hooper wisely chose to emphasize a very relatable problem: the fear of public speaking.  It also helps that the glamor of being a Prince is de-emphasized, with many of Albert's efforts being spent on things he did not enjoy.  Most importantly, though, Hooper was able to make the friendship between a King and a commoner seem plausible, warm, and mutual.  A lot of movies make you tear up because something is sad, but it takes a special movie to make you proud of a character.  On a cinematography side-note, I didn't notice the high-vaulted ceilings that are so common in movies about Kings and Queens; instead, I noticed fairly enclosed spaces and hallways.  I don't want to get all artsy on you, but I think Hooper might have subtly been suggesting the pressure on Albert, or at least symbolizing his throat problems.

In the making of this movie, the filmmakers chose an interesting path.  You would think that the story of a King who abdicates his throne for his lady love would be worthy of a movie; heck, even a story about a woman who feels that she is important enough to forfeit a kingdom over could be good viewing.  Other movies might have focused on the politics of England in the years leading up to World War II.  Instead, this movie is about a King with a stutter, a story that doesn't sound interesting at all, and it is far more engaging than those other possibilities could hope to be.

Films that are based on real people often fall into the trap of telling their life's tale, without having an explicit dramatic arc.  Thankfully, this was a movie about overcoming an impediment, and didn't focus on George VI's reign --- Bertie was King when Britain went from a worldwide empire to its modern size.  Surprisingly, the film didn't call out the Royal Family at all.  Helena Bonham Carter's character became the Queen Mother into this millennium, Bertie's daughters eventually became the seemingly eternal Queen Elizabeth II (still on the throne) and the scandal-plagued Princess Margaret.  I really appreciated that this movie doesn't poke you in the eye with its historical impact, or that of its characters.  Avoiding those self-serving odes to history definitely kept the interest on the relationship between King and commoner, and that simplicity is part of what makes this film work.

Is The King's Speech a movie that will floor you with special effects or a powerhouse performance?  No, but that's okay.  It's well-written, -acted, and -directed.  It's pretty low-key, but it is able to make you laugh and tear up.  What more do you want?  It's just a really, really, well-made film.

If you're curious as to what AlbertGeorge sounded like in real life, check out this link.  Firth's final speech is a very good imitation.

Brian's Best of 2010

Why is this Best of 2010 list being posted at the end of February 2011?  If the Academy Awards can wait until then, so can I.

Of course, I don't follow the same rules as the Academy and I don't watch all of the same movies.  I'm going to give you my Top 10 and Worst 5 movies of the year, the best and worst actors and actresses, as well as best director, bit part and biggest surprise and disappointment.  I should point out that, at the time of this post, I have not seen The Fighter, 127 Hours, Machete, or Piranha (2010), so you might notice a discrepancy between my lists and most critical listings.  For a complete list of the 2010 films that were considered in my 2010 wrap-up, check my review index; I will have reviews for Black Swan, The Social Network, Toy Story 3 and The King's Speech later this week.

Let's begin with the bottom of the barrel...
Worst Actor: Joaquin Phoenix in I'm Still Here.  The movie was awful, and all it did was follow him around being awful.

Word!

Dishonorable mention goes to Channing Tatum in Dear John, mostly for his godawful monologue about coins.

Worst Actress: Amanda Seyfried in Dear John.  I'm just tired of her stupid face.

Why does she have a belly bra?

Dishonorable mention goes to Tiffany in Mega Piranha, but only because she actually looked like she was trying to act in that awesomely bad crap-fest.

Biggest Disappointment: It had to be Tim Burton's Alice in Wonderland.  It wasn't bad, and it was visually spectacular, but I expected more from Burton and Johnny Depp.  This was their chance to get really, really inventively weird, and they half-assed the story.  Even the spectacular special effects would have been more impressive if they were a little more bizarre.  The last thing I expected to feel after watching this movie was indifference, but that's what I got.

Worst Five Movies
5. A Nightmare on Elm Street - Yeah, I know remakes suck.  Yeah, I know that the people who brought me the Texas Chainsaw Massacre remake produced this, too, but it managed to get Freddy Kreuger exactly wrong.  He's not scary because he's a killer, he's scary because he's in your dreams.  This also has one of the lamest "twists" I've seen in a while.

You know it's bad when the NES version is scarier than the 2010 movie.

4. Leap Year - Romantic comedies are terrible.  Case in point.  Amy Adams is generally adorable, but not when her character is obnoxious.
3. Unthinkable - There's nothing like bringing up a controversial issue, not arguing both sides equally and still not taking sides by the end.  This movie is my all-time winner for ending a film before key plot points get resolved.  If you thought The French Connection ends abruptly, this conclusion will blow your mind.
2. Dear John - Manipulative drivel with awful acting.  I hate you so much, Nicholas Sparks.  But hey, at least he made the point that autism is not the same thing as mental retardation.  Consider me schooled.
1. I'm Still Here - Self-indulgent tripe of no value.  By far, the most painful viewing experience of the year.  When the highlight of your movie has somebody pooping on the star, you know you've hit rock bottom.

Okay, that gets some of the bile out of the way.  Now on to the fun stuff!

Best Bit Part: This award absolutely had to go to someone from Scott Pilgrim vs. the World, because the movie was chock full of great minor roles.  I'm going to give it to Chris Evans for two reasons.  First, the posters for his fictional movie roles were amazing.  Second, I loved his response to someone saying they're a fan: "Why wouldn't you be?"  That was great.

Best Supporting Actress: Chloe Moretz in Kick-Ass, primarily because her character was awesome, but also because her fight with Mark Strong was the only time the movie's gratuitous violence disturbed me.

Best Supporting Actor: Geoffrey Rush in The King's Speech.  I'm a huge fan of Rush in supporting roles, and this is some of his best work in years.  Silly and touching at the same time, his performance was the perfect compliment to Colin Firth's.
This is my favorite category because there are so many great small but memorable roles every year.  Honorable mentions goes to Eddie Marsan in The Disappearance of Alice Creed for the purity of his performance in a crime movie.  It wasn't terribly complex, but it was very well executed.

Mrsan may look like a hobbit here, but he was scary in Alice Creed.

John Hawkes deserves some recognition for his work in Winter's Bone, too --- he has the most character development I have seen in any supporting character this year.


Best Actress: Jennifer Lawrence in Winter's Bone.  She was just terrific.  Sure, the character was pretty good, being all tough and determined and whatnot, but Lawrence gave her redneck character real dignity.  That is no small task.
Honorable mention goes to Hailee Steinfeld in True Grit.  I realize that she received Supporting Actress nods (probably because teenage girls don't win Best Actress anythings), but hers was definitely a co-starring role, and she deserves the credit for her work.

Best Actor: I didn't have a clear-cut favorite in this category this year until I watched a marathon of Oscar-nominated films this weekend.  Now, it seems pretty obvious that Colin Firth deserves to be considered the year's best actor for The King's Speech.  I'm not a huge Firth fan, but he managed to make me care about the personal problems of a foreign royal, and I didn't laugh at his stutter once in the whole movie.  And I'm a jerk, so that's doubly impressive.

"You want me to sing into this tin can?": NOT a British remake of O Brother Where Art Thou?

Honorable mentions go to Michael Cera, for his stunningly perfect work in Scott Pilgrim vs. the World, and Jesse Eisenberg, for his fast-talking asshole performance in The Social Network.

Best Director: Christopher Nolan for Inception.  The movie was smart, visually fabulous, well-told, and well-acted.  Nolan is responsible for all of that greatness, so he wins.
Honorable mentions go to Martin Scorcese, for his beautifully directed (but a tad predictable) Shutter Island, Edgar Wright for making THE GREATEST comic book adaptation ever (Scott Pilgrim vs. the World), and Tom Hooper for directing the Best Actor and Best Supporting Actor performances in The King's Speech.

Top Ten Movies

10. The Crazies: For my money, this is the smartest, most well-crafted horror movie of the year.  It's not Oscar-worthy, but the main characters seem reasonable and don't act stupidly.  That might sound a little simple, but it makes a potentially fun horror-watching experience into a thrilling one.
9. The Expendables: Old men make boom punch pow.  Violence good.

Fashion by Stallone.

8. Iron Man 2: It wasn't as deep as the first movie, but I love me a good sequel and IM2 delivered.  Well-directed, -paced, and -acted, this is a sequel that had only a few moments of Sequel Stupidity.  Thankfully, it balanced those moments out with Sam Rockwell being obnoxious and dudes fighting other dudes in robotic (you might even say iron) suits.  I don't know about you, but I got what I paid to see.

I can't believe they replaced Terrence Howard with that guy.

7. The Social Network: It's hard not to love a whole movie full of fast-paced witty dialogue, and it was a pleasure seeing Jesse Eisenberg step out of Michael Cera's shadow with this film.  Good performances and great dialogue --- I just wish the real Mark Zuckerberg was anywhere near this cool.
6. Kick-Ass: It answers the question of why there aren't superheroes in the real world --- because they would get ass-kicked on day one.  It's not a deep movie, but it is fun and violent.  As an added treat, Nicolas Cage doesn't ruin the film.  What are the odds?
5. Toy Story 3: Just because it makes you cry doesn't make it sad.  One of the most touching dramas about family and growing up you can see.  This is probably the best artistic statement of the year, even if it's not my favorite movie.  Pixar is the Alan Moore of animation.
4. True Grit: Certainly one of the best remakes of all time and a return to gorgeous filmmaking and quirky supporting roles for the Coen Brothers.  It doesn't quite shake off reminders of the original, but it certainly offers another argument for the importance of the Western in modern filmmaking.
3. The King's Speech: Impressive performances make this potentially boring subject matter thoroughly entertaining and emotional.  It's just really, really good.
2. Scott Pilgrim vs. the World: This movie was an 8-bit love song, aimed directly at my heart.  Goofy, stupid, fast, and video gamer-friendly, this movie was perfect for what it is --- a movie about comic books and video games that is as much fun as reading comic books and playing video games.

Actors holding original comic art of their characters is pretty sweet.

1. Inception: Don't ask questions about the ending.  Just smile and laugh.  The always interesting Christopher Nolan crafted his masterpiece here.  The acting is very good, with many actors doing a lot of little things well; the plot is labyrinthine to explain, but understandable when you see it; the visual effects are unique and awe-inspiring.  This is a film that dreamed big and achieved everything it reached for.  It is absolutely the most impressive film I have seen all year.