Jake Gyllenhaal

Based on a true story about the 2013 Boston Marathon bombing, this looks like one of those movies that will be unbearably inspirational and patriotic. But thanks to director David Gordon Green (Pineapple Express), this is a gritty, honest drama that never dips into sentimentality. It's also a strikingly involving story about a young man who is forced to confront things about himself far beyond his injuries. And that makes it genuinely inspirational.

The man at the centre is Jeff Bauman (Jake Gylenhaal), a happy-go-lucky lad who is cheering his on-again/off-again girlfriend Erin (Tatiana Maslany) at the marathon's finish line. Jeff loses both legs in the explosion, returning home to live with his boozy mother (Miranda Richardson) as he tries to put his life back together. But he feels uneasy that the entire city is celebrating him as a hero. So while his working-class family enjoys the celebrity, Jeff goes quiet. Erin tries to get him to take a more proactive approach to his physiotherapy and get on with his life, but Jeff instead slips back into his old habit of drinking too much with his buddies (Richard Jane Jr. and Nate Richman). And this leaves him without much desire to work toward a full recovery.

Against expectations, the filmmakers refuse to sensationalise either the bombing or Jeff's injuries, instead taking a matter-of-fact approach that feels edgy and authentic. Gyllenhaal plays Jeff as a likeable slacker who knows he's a loser, so can't cope with his status as a symbol of hope. This gives his internal journey some real resonance, and Gyllenhaal gives Jeff a remarkable intensity that's sympathetic even when he's being a jerk. Maslany is also skilfully understated in her pivotal role, while Richardson is the standout as an uneducated woman who makes some very bad decisions but is fiercely protective of her son.

Continue reading: Stronger Review

As Tilda Swinton reteams with her Snowpiercer director, Korea's Bong Joon Ho, it's perhaps unsurprising that the resulting movie defies genres. Not only has it sparked a debate about Netflix-produced films that people want to see in cinemas, but it's also a story with huge political resonances laced through its premise. That said, this is essentially a movie about a girl and her beloved hippo-sized pig. And it's warm, witty and remarkably engaging.

Swinton plays twins Nancy and Lucy, who take over their family's multinational corporation after their ruthless father dies. With a desire to feed the world, Lucy has bred a series of gigantic pigs and placed them with farmers around the globe. Ten years later, her celebrity judge Johnny (Jake Gyllenhaal) crowns the winning pig as Okja, raised in the Korean mountains by teen Mija (An Seo Hyun) and her grandfather (Byun Heebong). But now Mija is horrified that they are taking her best friend away, so she sets out on an epic quest to Seoul to find Okja before she's put on a plane to America. Meanwhile, a group of animal rights activists led by Jay (Paul Dano) is also trying to free Okja, and they hatch a plan to take Mija to New York and stage a very public rescue.

The film has a snappy, witty tone that propels us into the story, with moments of satirical comedy, earthy humour and some exhilarating, inventively staged action. And the reason it works so well is due to the title character: thanks to seamless digital effects, Okja emerges as a smart, playful and brave creature whose bond with Mija is very strong indeed. This adds a powerful emotional kick, balancing the cartoonish but still remarkably textured performances from Swinton and Gyllenhaal. By contrast, An nicely underplays Mija, while Dano and his gang (including Lily Collins and The Walking Dead's Steven Yuen) add an intriguing edge of soulful compassion.

Continue reading: Okja Review

It's been seven years since designer Tom Ford made a splash with his award-winning writing-directing debut A Single Man, and it's no surprise that his second film is just as exquisitely beautiful to look at. What's unexpected is the complexity of the storytelling. Adapted by Ford from Austin Wright's novel Tony and Susan, this movie has three sides to it: a romantic drama, a darkly personal odyssey and a freaky thriller. These elements kind of fight for the audience's attention, but they're sharply played and packed with intense emotion.

Set in Los Angeles, everything revolves around gallery owner Susan (Amy Adams), who lives in a spectacular home with her banker husband Hutton (Armie Hammer), who's facing financial problems. Susan is shocked when she receives a manuscript by her ex-husband Edward (Jake Gyllenhaal), who has finally finished his long-gestating novel. But as she reads it, she realises that their break-up inspired the story, and she pictures Edward in the central role as Tony, a man travelling through Texas with his wife and daughter (Isla Fisher and Ellie Bamber), who are kidnapped and brutalised by roadside thugs led by the unstable Ray (Aaron Taylor-Johnson). So Tony teams up with jaded detective Bobby (Michael Shannon) to track them down.

The film's central narrative is Susan's deeply internalised discovery of her own dark soul, which plays out both in her scenes with Hutton and figuratively in the fictional thriller narrative. All of these things take complex twists and turns that have vivid moral shadings. But of course the Wild West action element continually steals focus from the more understated personal drama. In this sense, Gyllenhaal has the trickiest role, or rather two roles, as the story's catalyst and victim. Meanwhile, Adams is strikingly transparent as Susan, engaging in jagged interaction with both Gyllenhaal's enigmatic Edward and Hammer's eerily heartless Hutton.

Continue reading: Nocturnal Animals Review

With visually stunning imagery and a solid A-list cast, this film just about transcends its oddly uninvolving story. Based on true events, the scenes are harrowing and emotive, but spreading the story among an ensemble obscured by mountaineering gear and snowstorms makes it difficult to engage with anyone. And the plot-strands that do find emotional resonance feel like they've been manipulated.

In the early 1990s, companies began selling Everest expeditions to wealthy clients, and by the spring of 1996 there were 20 teams of climbers jostling for position on the slopes of the world's highest peak. Kiwi guide Rob (Jason Clarke) opts for a cautious approach with his team, which includes impatient Texan Beck (Josh Brolin), journalist Jon (Michael Kelly) and the nervous Doug (John Hawkes), who only just failed to reach the summit on his previous attempt. Rob's base camp manager Helen (Emily Watson) keeps everything running smoothly and, since the mountain is so overcrowded, Rob coordinates the climb with a rival guide (Jake Gyllenhaal) and his team. On the day of the final ascent, the skies are clear, but delays along the way and an approaching storm threaten the climbers.

Since the is a true story, it's clear from the start that some of these people won't make it home. And Icelandic director Baltasar Kormakur lays on the emotion thickly, with an overly pushy-majestic score by Dario Marianelli and several sentimental phone calls home. Rob's wife is played by Keira Knightley, and you can almost hear the ominous chord when she reveals that she's pregnant. A bit subtler is Beck's interaction with his wife, played with insinuating bitterness by the always terrific Robin Wright. Meanwhile, Clarke's sensitive leader and Brolin's bullheaded alpha male contrast nicely with Gyllenhaal's cool dude, while Sam Worthington is almost lost in the shuffle as a friend who's climbing a neighbouring peak.

Continue reading: Everest Review