“The result is never in question, just the path you take to get there.”

Set in New York in 1981, this masterpiece tells the story of Abel, a business-man in the oil industry trying to expand and grow his trade. Apparently 1981 was statistically the most dangerous time in the city and this is felt in the film.

There are many aspects of this film that I would like to discuss but that would give away too much of the narrative. This is an epic film with big themes, akin with some of the great stories from history.

J.C. Chandor writes and directs this near enough masterclass in story-telling, keeping the tension high and the pressure on our hero, Abel (pronounced Ah-Bell).

Brilliantly played by the man of the moment Oscar Isaac, he instills Abel with a moral fortitude rarely seen on screen. He is the epitome of right action and therein lies his challenges, working in a complicated, political world that doesn’t always play by the rules.

By his side is the hugely talented Jessica Chastain playing his wife and here she delivers a performance filled with danger, loyalty, strength and feminity. There is a touch of the Lady Macbeth’s in her work, subtly manipulating Abel in order to achieve her goals but at the same time being a rock for him.

There is a palpable sense of underlying danger that threatens to rear its ugly head at any time. It’s this unseen threat that really keeps the tension taut, helped in no small measure by the haunting soundtrack composed by Alex Ebert.

The incredibly gifted cinematographer, Bradford Young shows his skills with his beautifully constructed shots. I’d first noticed him when he shot Pariah and he recently shot Selma. He is a talent I will be looking out for.

There’s been a lot said about the seeming snub from the Oscars this year, when put into the mix of the nominated films it stands head and shoulders above most of them. This was attributed to its late release (late 2014). Chastain was nominated in other ceremonies and won several awards for her performance, rightly so, interestingly Oscar Isaac tied the award for best actor with Michael Keaton (Birdman) at the National Board of Review awards in the United States.

His performance is quiet, subtle and grounded in an otherworldly energy at times, that is up there with the great performances of the last year (along with Jake Gyllenhaal in Nightcrawler, another overlooked, powerhouse achievement). Isaac brings to mind Al Pacino as Michael Corleone without the overt menace in his portrayal of Abed. David Oyelowo continues to show his skills as the district attorney who is investigating Abel’s company. Alessandro Nivola, who needs to be in more films, is as charming as the devil as one of Abel’s competitors, Peter Forente. The mighty Albert Brooks is Andrew Walsh, Abed’s consigliere. Jerry Adler (The Sopranos) is the man whom Abel is doing business with and he imbues his role with wisdom and fair play.
Special mention goes to Elyes Gabel, a British actor who is doing very well for himself, here delivering a performance filled with uncertainty and depth. His character is pivotal to the story and will leave you feeling sympathy for him.

There is an undercurrent of instability that permeates every shot. Taking its mood from the American films of the seventies, this has more than a whiff of The Godfather but never once feels like plagiarism, much more homage and being the best way to tell the story.

Chandor does it again, making a film that really should have got more attention, it will become a classic in the eyes of most cognoscenti and hopefully the rest of the cinema going public.

A most affecting film.

If you haven’t seen it, find it and watch; you won’t be disappointed.




12 ANGRY MEN (1957)


Juror #3 (Lee J. Cobb): “Everything-*every single thing* that took place n that courtroom, but I mean everything- says he’s guilty. What d’ya think, I’m an idiot or something?”

Sidney Lumet directs this morality tale, set primarily in a small room where the 12 members of a jury convene to decide whether a young Spanish/American man is guilty of murder or not.

Filled with fantastic character actors, this film asks questions about preconceptions and prejudices. When you look at any crime you should take the immediate facts and use them as the foundation as you try to fully decipher of the situation.

The key here is the questions asked, which Juror #7 (Henry Fonda) does of his fellow jurors. No juror has a name here, it doesn’t matter, each representing an aspect of humanity. It’s complicated and looks at the accused through a microscope allows a deeper, fuller version of the truth.

The acting is fantastic, filled with brilliant performances from everyone. The jurors are: Martin Balsam, John Fielder, Lee J Cobb, E.G. Marshall, Jack Klugman, Edward Binns, Jack Warden, Henry Fonda, Joseph Sweeney, Ed Begley, George Voskovec and Robert Webber, each of them infusing their characters with three dimensions and truth. The script is lean and each of the arguments is mined to the fullest.

Fonda plays the dissenting voice, all the others think the young boy is guilty and he proceeds to challenge his fellow jurors views.

This is a film that will make you think, question your own conclusions, entertain and take you on a roller-coaster ride. No special effects, set in one room, the drama comes out of the conflicts or clashes that the characters find themselves in with each other. These true human dynamics make for the best kind of stories.

This film, if viewed with openness can shake you out of your own prejudiced prism and leads you in the direction of empathy, understanding and compassion. Judge not lest ye be judged.

Reasonable doubt.

So many things have already been written and said about this classic film from the ‘50’s, it works everytime you see it and benefits from multiple viewings.

Do yourself a favour, if you haven’t seen it before or it’s been a long time since you last saw it, find it and watch this classic again.

It is a important today as it was in 1957.