American Hustle (2014, David O. Russell)

With an ensemble of performers that will be a hard push to beat throughout the new year, David O. Russell crafts an entertaining and tightly conceived caper out of the real events of the ABSCAM scandal of the 1970s. Surprisingly touching and featuring (unsurprisingly) an array of oddball characters, American Hustle sacrifices its historical background to tell a resonant story of regained love and second chances to great effect.

The film drops us into the middle of the story as a group of as yet unidentified misfits attempt to pull off a job amid a backdrop of hidden cameras and microphones. We know the stakes are high but to what end and for why? We're not yet indulged. The audaciously hilarious opening images of an overweight balding Christian Bale gluing his hair into place is sidesplitting in its silence; it's tough to imagine a more effortlessly shocking opening image coming along in cinema this year.

As Irving Rosenfeld's (Bale) voice-over takes us through his origin as a conman and his meeting with equally cunning true love, Sydney Prosser (Amy Adams),  and their successes and eventual downfall through FBI agent Richie DiMasso (Bradley Cooper), it's clear form the offset that we're in safe hands as the film lulls you into its cool pacing and confident direction.

The cinematic chameleon of Amy Adams is smartly cast as Rosenfeld's right hand woman and lover; in a film featuring characters who deal in deception for a living, as the FBI's grip tightens on the couple and their secret counter attack is left ambiguous at best, Prosser's intentions are never to be trusted as Adams retains a strong level of danger from a character who could be a best friend or worst enemy at the drop of a hat. This of course works as the film's dramatic arc due to it being on a kilter with Bale's endearingly frumpy turn; as the couple are forced to give the FBI 'crooked' politicians through financial dealings while juggling their own lives - mostly the firecracker that is Rosenfeld's wife played memorably by Jennifer Lawrence - its impossible to not want this man, played so gently by Bale to succeed.

American Hustle is entertainment through and through, with evenly paced and wisely placed humour throughout. It's hard to remember a film that gets more mileage out of its humour in hair, make-up, and costume changes alone. The drama naturally flattens as the plot strands and motives take over in the final stages, this is due to Russell being more interested in the characters and their predicaments rather than the historical context and to an extent this pays off as it avoids the history with a capital H look at the story. Though a standout scene involving a welcomingly intimidating supporting turn from Robert DeNiro certainly cranks up the heat as lives begin to hang in the balance. 

Everyone is clearly having fun here and thanks to the human emotive elements being brought out so well it really pays off as intelligent popcorn fare of the highest order. Bringing the key actors in from his last two films (The Fighter, Silver Linings Playbook), Russell tells (albeit entirely on different ground) another story of reinvention and second chances - a universally powerful theme if there ever was one. Like his performers, the director is also having a back as he makes his throwback to 1970s American cinema. In one scene Richie DiMasso listens to Rosenfeld speak at a gallery of how the forger of art can be argued as being just as talented as the artist themselves. There's some mirroring here as Russell shoots and edits with the energy and passion of 70s greats Scorsese and Lumet to name but a couple, respectfully forging his own film successfully out of the mould left by these acknowledged masters.

Silver Linings Playbook (2012, David O. Russell)

Beginning with a training montage that wouldn't seem out of place in his previous film The Fighter, David O. Russell's latest sees a shift from a physical rejuvenation to a mental one. As we're introduced to Pat (Bradley Cooper) preparing to enter the outside world after a stint in a psychiatric hospital, his sights are set on an unrealistic mission to mend his broken marriage after a past trauma which led to his admittance. As Pat continues to battle himself with a comfortable reintegration into society looking far from likely, it takes a new acquaintance more damaged than himself to help him see past his own problems and to except what life has dealt him.

David O. Russell's films typically harbour characters always on the brink of exploding; highly strung neurotic individuals who blur the line of where sanity ends and aberration begins. It's therefore fitting that such a filmmaker would tackle the issue of mental health, placing it amongst the backdrop of a damaged suburban America where 'normal' behaviour is like gold dust or simply impossible. As Pat moves back into his family home he is supported and loved by his parents (played by a wonderful Jackie Weaver and Robert DeNiro) but the signs of compulsive or aggressive behaviour can be seen in his gambling father, a close friend's marriage, and in a young grieving woman named Tiffany (Jennifer Lawrence) who's erratic actions dwarf Pat's and could hold the key to his recovery. 

Bradley Cooper does a remarkable turn as Pat, a character who could easily have been an exasperating or perhaps unsympathetic character if done wrong. For the most part his actions are based around the frustratingly hopeless plight to win back his unfaithful wife, the woman responsible for his violent episode that changed his life. We know little about the Pat before incarceration, being left to engage with a blinkered man who cannot see what's good for him. Cooper triumphantly makes for an endearing screen presence throughout and one who instantly has you on his side. Russell also does a wonderful job in representing Pat as a tragically triggered bomb, showing others around him just as fragile as they journey through life's struggle still yet to be triggered as Pat was.

The real revelation here is Jennifer Lawrence, though, whose young grief stricken Tiffany is pure electric throughout. Another testament to the 22 year old actress's commanding talent as she convinces of a broken woman with enough experience to last her a life time. Her performance is note perfect, both wildly funny and raw. Robert DeNiro is also a pleasure to behold; after many rehashed or uninspired roles in recent years his take on Pat's severely OCD suffering father is a delightful one, again marking his adeptness for humour.

As the film reaches towards an end it may be little suprise as to where the story will end up but when it's handles as well as this you'd be pushed hard to complain. With its blossoming romance and dance set piece it'd be easy to say you've seen it before, whether you've seen it done this well is something else entirely. What marks Silver Linings Playbook out is the tenderness it holds for its characters; it neither exploits its central couple's instability thus creating a farce or bogs itself down with shallow sentimentality. Chaplin stated that the best comedy comes with a dose of melancholy, "to truly laugh, you must be able to take your pain, and play with it", he said. There are great moments of humour here, humour which grows out of the characters rather honestly and without great contrivance. There is joy and pain in this picture, a rare 'comedy' with grit and compelling characters at its heart. 

X-Men: First Class (2011, Matthew Vaughn)

This prequel to the ever popular X-Men saga is an entertaining and sometimes camp adventure given weight by impressive central performances. It's great to a see a movie of this breed revelling in its colours and sense of fun in a post-Batman Begins world, despite dramatic dips, daft moments, and diminished results from promising rudiments, Matthew Vaughn's second foray into the world of superheroes mostly succeeds. 

In the trilogy started by Bryan Singer and ruined by Brett Ratner's closing effort we followed the fight over humanity and prejudice with Professor Charles Xavier's gang of X-Men against the war efforts of Magneto. Xavier believes in humanity and mutants living in harmony whereas Magneto has nothing but contempt for humans and sees no peace. We know of their long history and once friendship from additions in the scripts but here we learn of their origins and events that shaped the men we've known so far. 

First Class starts almost shot for shot as the first X-Men film did; in Poland 1944 the young Erik Lehnsherr (later Magneto) is taken from his parents as they go off to the concentration camps, his distress and fear manifests his powers for the first time allowing him to almost bring down the steel fence between them. Whereas this powerful scene cuts away in Bryan Singer's film here we're granted more as a nearby figure watches on from a window intrigued by the events. This figure is Sebastian Shaw played with joyous villainy by Kevin Bacon in a manor not distant from Christoph Waltz's excellent turn in Inglourious Basterds. Erik is brought up to his office forced to perform his powers again or his mother will be executed in front of him, a scene at first full of suspense and terror ending in a rather laughable show of acting from the young Erik, a real shame. Scarred by his experience we then follow Erik as a cold and disillusioned man focussed on revenge, Michael Fassbender portrays the desperation with a steel like resilience to empathy as he kills his way back to Shaw. Meanwhile, a young Charles Xavier meets a shape shifting girl in his kitchen one night, the girl as we know her is Mystique/Raven. The two grow up together forming a sibling like relationship and the petty squabbling and affection for each other is felt in the defined chemistry between James McAvoy and Jennifer Lawrence. Whereas Fassbender's portal of Erik/Magneto echoes Ian McKellen's efforts, Seeing a young Xavier is mightily interesting as his persona hardly fits the stately wheelchair bound man we've seen over the past three films. McAvoy's Xavier is a 'Jack the lad', a work-hard-party-hard student with a weak spot for the ladies. Seeing him slowly develop into the more world worn man we know him as later is perhaps the films most distinguished pleasure.

As Erik realises his efforts to bring down Shaw are useless without Xavier's band of mutants he joins them in their bid to stop Shaw from using the Cuban missile crisis as a catalyst for World War III. Erik would have no trouble in his retribution against Shaw if it weren't for the powerful telekinetic powers he harvests, powers similar in strength and nature to Xavier's own. Shaw and his beautiful but deadly sidekick Emma Frost (January Jones) seem to be a impenetrable force but the war for mankind and mutant relations wages on.

With Bryan Singer back on board with a story credit this had promise from the start and delivers more than the lacklustre Wolverine prequel, bettering X-Men: The Last Stand but shying short of the franchise's stellar second instalment. Vaughn's writing buddy Jane Goldman joins once again making for further reinforcement, but in a team of five accredited writers there was bound to be some muddles. The story takes a big dip in the middle, whereas the character introductions draw us in as soon as the mutant numbers mount up they become increasingly less interesting as the film loses sight of its main players. Raven/Mystique's relationship with Hank McCoy/Beast feels schematically forced and rushed over, while her affection for Erik is intriguing the juxtaposition between her feelings for the two feels inconsequential and a missed dramatic foothold for the story. Kevin Bacon's dastardly Shaw starts out as a real inspired villain but takes a nose dive into not just mediocrity but plain monotony, a shame such a charismatic start promising a standout antagonist would only exist to occupy dead space. Even Shaw's accomplice offers nothing but eye candy, for an actress who depicts such venom and loathing in Madmen January Jones neither shows an ounce of it here making for a dull forgettable presence also. When Hank McCoy makes the transition into Beast one can only think of Michael J. Fox in Teen Wolf (1985), for a transformation that should have contained more than a shade of tragedy for Hank the results are rather comical and doesn't sit as it should. This is just one example of several shoddy makeup/special effects which seems baffling for a production of this magnitude, some of the mutants powers also seem rather thin and neglectful - one female mutant has butterfly wings and only takes seconds into battle to reveal the worthlessness of her contributions. A young man with a high pitch scream is also an irritating addition we could do without.

Still, these little flaws only add to the camp nature of the film, whether camp was what the filmmakers aimed for is unknown but camp is what they got. The 60s setting strangely wavers at times making it easy to forget we're watching a period piece, the set/costume design could have been more prominent but maybe some of the secret advanced technology disguises these efforts. When successfully encompassing the 60s its general camp manner and occasional suave turns from Fassbender takes us into classic James Bond territory with its pantomime villain - Bond a la Roger Moore that is. 

Though the focus laid off them hurts the film somewhat the talents of Fassbender, McAvoy, and Lawrence acts as the glue holding it together. Each bring the same A-game they've brought to the gritty dramas we're used to them in, never looking down their noses at the material and clearly having fun with their characters. Matthew Vaughn's fluid flashy direction is still present though less successful than his previous films, possibly due to the weight of the production this time. 

The aim of X-Men: First Class was to show the beginnings of the franchise's two opposed leaders fighting for and against mankind due to their differing world views; the film succeed at this whole heartedly making it a deepening exercise rather than the money spinner it so easily could have become. By the end we see the paths laid out for both Erik and Charles after witnessing the events that later define them. Despite some sloppy moments of direction and inconsistent writing the results still manage to convince and entertain, a job well done with much to improve upon in the recently announced sequel.

Winter's Bone (dir. Debra Granik, 2010)

Plot: An unflinching Ozark Mountain girl hacks through dangerous social terrain as she hunts down her drug-dealing father while trying to keep her family intact.

Winter's Bone is the film that conquered the Sundance film festival and looks likely to conquer the next Oscars due to its young starlet Jennifer Lawrence's portrayal of a iron willed and warm hearted mountain girl.

Ree Dolly is a Missouri mountain girl who is made mother of the household due to her catatonic mother and absent father. She cooks cleans and does everything a mother should do for her young brother and sister while stricken in poverty.

When the local Sheriff arrives one day and gives Ree the news that her drug dealing father has put the family home up as collateral for his bail, Ree makes it her mission to find her father who may or may not be dead before they lose their home.

Winter's Bone is one of the bleakest and darkest films you will see this year but don't let that put you off as it's also one of the best. At it's core is a warm story about the lengths that a girl will go for her family no matter what the consequences are for herself, with its' young motherly lead character and its female director 'Winter's Bone' is very much in touch with its maternal side.

When Ree tries to track down her father, the locals take a sinister turn and warn her to keep out of her father's business. The underbelly of the town is largely hinted at and shown rather than talked about but it's clear that many of these locals as well as Ree's father are part of the cooking and selling of crystal meth.

The story and mood of the film is reminiscent of David Lynch's influential 'Twin Peaks', with its' northern rural town setting, missing person, shady locals and buried secrets. This link was made all the more relevant when Twin Peak's very own Sheryl Lee makes an appearance half way through the film.

The focus of the film is on Ree's character and the media have given much praise of 19 year old Jennifer Lawrence's performance and rightly so. As amazing as she is, another performance steals the show with John Hawkes tragic take on Ree's uncle Teardrop who is an interesting and troubled man worthy of a film himself in many respects.

At one point in the film Ree has been severely beaten by the locals for not adhering to their wishes, after she has been cleaned up by her best friend all Ree cares about is that her brother and sister get their homework done, this is the kind of person Ree is. The poverty in 'Winter's Bone' is awful to imagine but is also refreshing to see on the big screen, so many Hollywood films brush America's devastating poverty under the carpet by giving their characters swanky jobs, big houses and attractive vain friends. In 'Winter's Bone' this is as real as it gets, the American dream isn't on the mind of Ree as she struggles to feed her family each night and teaches her siblings how to use a rifle in case anything happens to her.

Summary:

If Jennifer Lawrence doesn't win best actress for this then to hell with the Oscars, we could have the next Charlize Theron on our hands with her promising talent. 'Winter's Bone' is a bitter pill to swallow but is also a film with a heart so big and so real that it is hard to resist...expect to hear a lot more about this title and especially Jennifer Lawrence over the next few months.