All Is Lost by J. C. Chandor

All Is Lost by J. C. Chandor

 

All Is Lost involves a man (Robert Redford), whose name is never mentioned, is lost at sea. His ship is damaged and he goes through a series of obstacles trying to survive.

Following up on his debut Margin Call, director J.C. Chandor achieves a poetry and spirituality with barebones simplicity. The serene oceans are beautifully photographed and there is an impressive use of tranquility in its storytelling. Whether it’s an impending storm or a school of fish swimming by the ocean, Chandor crafts genuine moments of awe in the truest sense of man versus nature.

Robert Redford carries the entire movie on his shoulders, and it’s a testament to his onscreen charm and persona. With almost next to no dialogue, character backstory or another actor to play off of, the film’s visceral experience completely hinges on Robert Redford’s every facial expression, delivering joyful relief with a sigh or with a frown evoking disappointment. It is a natural and honest performance, as Redford never once preens for the camera but rather simply plays the truth of the situation.

Comparative to his competitors for the best leading actor award, Redford’s performance, while artful and impressive, is not Oscar worthy. It hits a deeper reflective note that is more difficult to quantify as the experience rewards as much as the viewer wants to invest in it.

Even in terms of Oscar politics, weighed against slavery, AIDS and degenerate stockbrokers, a man trying to survive in nature perversely seems opaque right now. Perhaps it’s just not where the social unconscious wants to be focused on. That might be too bad, but I wager the film will have longer shelf life than some of the films that are nominated right now. All things considered, All Is Lost fares like the underdog film of this year, even though there is nothing underdog about it.

 

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The Grey by Joe Carnahan

The Grey

The Grey by Joe Carnahan

A man who has lost the will to live must save a group of men after a plane crash in the midst of Alaska. That is a compelling premise.

If you lost the will to live, is there any value in human life? How do you value someone else’s life? Is there even any point in running away when you are in the face of death?

The Grey asks these existential questions but doesn’t get bogged down by the weight of them. It externalizes these ideas into something entertaining: a survival film. And more importantly, the film doesn’t leave these questions unanswered. It manages to answer them from the point of view of Liam Nesson’s character, John Ottway. And if there’s one thing that Liam Nesson does really well, it is bringing gravitas to a role and a story, no matter how ridiculous the situation may be (i.e. in Taken where he singlehandedly takes on Paris. Or heck, even the scene in The A-Team where the team in a tank falling from the sky and he orders the team to maneuver the tank through firing out of its cannon).

The structure of the story is that of a philosophy thesis. These characters exist as viewpoints. Survival arguments between the characters are disguised existential arguments. One noteworthy scene is where all the men sit around in a campfire and share their personal stories, it works both as character development and on a thematic level establishes what they all have to live for as existential discussion. As for the wolves, I know nothing about wolves and their social behavior. I don’t know if they make sounds like a Tyrannosaur Rex or sneak up on people like ninjas as they’re portrayed in The Grey. And you know what? It does not matter one single bit. These are not real wolves. These are thematic existential wolves. Yes, they exist as an idea and they work like that of a movie monster metaphor.

As for the set pieces, they are brutal. They reportedly shot in -40 degree weather and it looks it. We feel the pain of these deaths. The balance between the philosophical and the survival film tropes make it a thrilling experience.

The A-Team and Smoking Aces was both fun fluff, but The Grey is levels higher and it shows maturity and improvement on the filmmaker’s behalf. This is the best Joe Carnahan film has made yet.

I’m all for not hurting animals, but there’s something really badass about watching Liam Nesson punching a wolf. The Grey is aware of its popcorn movie layer though despite of that has much higher ambitions than to simply entertain, it chooses to say something deep instead. And it succeeds. Or else they could have just named the movie – Liam Nesson: Wolf Puncher.