Tag Archives: Tinker Tailor Soldier Spy

48. Cube – Vincenzo Natali (1997)

First Viewing.

Super low budget, it’s Canadian and it’s about, well, a Rubik’s cube with serious issues; it likes to kill people. On the face of it it’s not exactly the type of film I’d be rushing out to watch usually, but I thought I’d give it a go due to a combination of good reviews and peer pressure. And, I’m not going to say I wish I hadn’t seen it, but it didn’t rock my world (I’ve never used that phrase before, and, reading it back, I don’t think I ever will again!) I can live with the dubious special effects, I can live with the weird set-up, I can almost live with the awful dialogue, but when certain characters started acting like they’ve been lobotomised half way through the film I lost interested. I understand that the characters, who are trapped inside this killer box, are under intense pressure to escape, but really, you don’t go from being a good guy to a total dick in the space of 30 seconds. If you’re a huge sci-fan it’s probably worth checking out, or if you find a regular Rubik’s cube just far too easy you might want to take a look too, otherwise I’d watch something else.

Marks out of ten – Five

*Bonus Oscar related content!*

Being a huge Woody Allen fan I’d like to see Midnight in Paris sweep the Oscars up, but that’s never going to happen. Midnight in Paris isn’t actually even close to some of Woody’s best work, so I shan’t be overly gutted if he goes home empty handed. It’s not like he’ll give a fuck either way. I quite liked Moneyball too, but that’s because I’m a closet baseball and stats geeks. I guess I might not feel the same if I had zero interest in the sport. I’d also like to see Gary Oldman win for Tinker Tailor Soldier Spy, but I’m finding it hard to find any other films I truly love out of the nominated bunch, so that’s a big “meh” from me on what goes on to win tonight…

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40. Tinker Tailor Soldier Spy – Tomas Alfredson (2011)

First Viewing.

After the huge success of the, well, lets be honest, tad overrated Let the Right One In Alfredson has been trusted with the reigns to a comparatively large budgeted English language film. Alfredson, known for his downbeat style of filmmaking, brings a similar colour palette over from his Swedish movies and paints London in a swell of greys, faded greens and lacklustre blues. London looks cold and unloved, mirroring our protagonist George Smiley’s mood. Gary Oldman, as Smiley, provides a performance of great subtlety, and profundity, he never gives a breath away more than he needs to. It’s positively sombre, if you know what I mean. The film is littered with great performances, from Colin Firth’s snidey Bill Haydon right across to Tom Hardy’s hardy Ricki Tarr. And they are all photographed in a beautiful, detatched way. You can really notice Alfredon’s love of long lenses, which he employs adroitly to capture and distance us from each character. The nature of the film reminded me of the great Coppola film, The Conversation, – I’d take watching The Conversation any day of the week, and twice on a Sunday, over Apocalypse Now, but that’s a whole different blog entry waiting to happen- they both build up their narrative in an equally enthralling way. However, and here is my main bone of contention with Tinker Tailor Soldier Spy, the ending lacks something. I don’t want to give too much away if you haven’t seen it yet, but there’s a distinct lack of surprise to it all. I shall say no more, but that’s what’s stopping me from scoring it more highly.

(I apologize for calling Tom Hardy hardy, I can’t resist a pun.)

Marks out of ten – Eight.

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