Gritty prison drama Starred Up batters the other DVD releases into submission in this week’s DVD round-up.
In Starred Up (20th Century Fox)unhinged 19-year-old Eric Love (Jack O’Connell, Eden Lake, The Runaway) is plucked out of a young offender’s institute and thrust into an adult prison two years ahead of schedule -because he is deemed unmanageable. Keen to make a name for himself, Eric wastes little time in causing a stir, and a brutal altercation with another inmate sees him attract the attention of Oliver Baumer (Rupert Friend, Homeland), a volunteer counsellor who runs a discussion group for volatile prisoners with anger management issues. More troublingly, Eric is forced to confront his estranged father, Nev (Ben Mendelsohn) -a man who he hasn’t set eyes on for 14 years. With Nev disapproving of Eric’s attitude -not to mention his tentative jailhouse alliances -Eric is set on a collision course with both the prison management and the jail’s established criminal hierarchy.
Scottish director David Mackenzie has enjoyed an uneven career since making his quirky debut feature The Last Great Wilderness in 2002, with his filmography spanning the likes of Young Adam (2003), Spread (2009) and Perfect Sense (2011). Starred Up feels like a huge leap both tonally and thematically, and arguably sees him elevate his craft to the next level, with a new sense of sharpness highly apparent. Ex-Skins actor Jack O’Connell makes the step up from promising youngster to fully-fledged leading man in memorable fashion, delivering a level of intensity comparable to Tom Hardy’s ultra-violent turn in Bronson.
Aussie character actor Ben Mendelsohn’s Cockney accent may waver, but he utterly inhabits another trademark scuzzy low-life role, after memorable stints in the likes of Killing Them Softly and The Place Beyond The Pines. In truth, Starred Up is so chilling that it often feels like you are watching a horror movie rather than a prison movie. That said, the storytelling is so confident and persuasive you can’t look away for a second. Not just Jack O’Connell’s best performance to date, but also the always-interesting David Mackenzie’s career-high. One of the most gripping, disturbing movies of the year -highly recommended.
Deception (previously known as The Best Offer) (Signature) marks the second English-language feature from Cinema Paradiso director Giuseppe Tornatore, after 1998’s The Legend of 1900. Virgil Oldman (Geoffrey Rush, The King’s Speech) is a high-end auction-house proprietor who is summoned to apprise the considerable estate of reclusive heiress Claire Ibbetson (Sylvia Hoeks, Tirza). Captivated by both the antiques, and by Claire herself -despite the fact that she refuses to meet in person, and all of their exchanges are conducted by shouting through a locked door -the eccentric Virgil attempts to woo the enigmatic heiress. To help do so, Virgil enlists the help of charming young mechanic Robert (Jim Sturgess, Across The Universe), who coaches the older man in the art of seduction.
On paper, Deception’s plot sounds fairly ridiculous, and in all honesty, it is! Overlaid with heavy-handed symbolism and some weirdly clunky dialogue, the movie risks crumbling under its own sense of self-importance at every turn. In mitigation, the impressive cast’s commitment to the cause helps to elevate the endeavour above overcooked nonsense, and Geoffrey Rush has fun with Virgil’s oddball characterisation. Deception is unwieldy and over-long, but oddly compelling in spite of itself. Approach with caution.
Set over the course of one day, crime drama McCanick (Signature) follows hardboiled veteran cop Eugene McCanick (David Morse, The Green Mile) as he hunts for a seemingly harmless young criminal who harbours a dark secret about his past. Paired with ambitious, go-getting young colleague Floyd Intrator (Mike Vogel, Under The Dome), McCanick attempts to avoid his partner’s suspicions while tracking down his elusive nemesis, Simon Weeks (Cory Monteith, Glee). As details regarding McCanick’s murky past float to the surface, his long-hoped-for reconciliation with his estranged son looks increasingly unlikely.
Driven by an impressively committed central performance from perennial supporting player David Morse, McCanick is a stodgy, unwieldy thriller that confuses poor pacing with enigmatic storytelling. If your tolerance for reheated cop clichÃ©s and slapdash storytelling is unusually high, McCanick may hit the spot. Otherwise, the film is only really noteworthy as the final screen appearance by deceased Glee actor Cory Monteith, who shows an impressive disregard for his teen-friendly reputation as a street-smart hustler. What is more, the ending is so head-scratchingly bizarre that it leaves you baffled at the by-numbers filmmaking that preceded it. With a stronger narrative underpinning it, McCanick could have been a decent little B-movie thriller. As it is, it is merely frustrating.
In Under The Skin (Studio Canal) an alien entity (played by Scarlett Johansson) inhabits the earthly form of a seductive young woman and combs the Scottish highways in search of human prey. She lures a succession of lonely male victims into an otherworldly dimension where they are stripped and then consumed. However, life among the humans starts to change the alien’s perspective, and she starts to see herself as a human, with troubling and ultimately horrifying consequences.
After the stunning Sexy Beast (2000) and the dreadful Birth (2004), Under The Skin is the third feature from former music video director Jonathan Glazer. Loosely adapted from the 2000 novel of the same name by Michel Faber, Glazer’s movie is an undiluted helping of art-house sci-fi. Johansson is mesmerising throughout, and the timing of her jump away from the lucrative Avengers/Marvel safety-net is extremely brave. Unfortunately, Glazer’s icy mood-piece takes on a wearying, monotonous quality as it unfolds, and the film ultimately flatters to deceive you that there is more than meets the eye bubbling under the surface. Under The Skin is unique and disquieting, but for me it was ultimately impenetrable. Disappointing.