Bare-faced Greatness

A compelling throwback to the suspenseful thrillers of 60 years ago, Two Faces of January is as stylish a film as you will see from any decade since talkies began. Reminiscent of Hitchcock in his 1950's pomp, but without the melodrama, writer director Hossein Amini's interpretation of Patricia Highsmith's novel is beautiful to look at. The European locations evoke an idealised period of foreign travel, yet the film has an underbelly that scrapes the surface of gritty realism in the way that Hitchcock did not. The result is an involving slow burn with flashes of action only when warranted. The heart of the film is the evolving relationship between its three stars, who quickly become tied together. No McGuffins here, only solid plotting and convincing events used effectively to advance the story. The central performances are compelling and highly accomplished. Oscar Isaac must now be on the verge of the A-list after following Llewyn Davis with his excellent turn here, and Kirsten Dunst steps out of the shadow of teen movies and blockbuster love interest with a beguiling  performance in the role of Colette. But Mortensen is the emotional engine whose misfiring character, MacFarland, pushes the plot forward with stuttering steps. His performance should be considered a career best as he embraces all of MacFarland's flaws and lays them bare for the audience to great emotional effect. After such an assured and beautifully realised performance behind the camera, there can be little doubt that Hossein Amini's future is likely to be in the director's chair, and his next project should be awaited with keen anticipation.

Quack, Quack, Ooops

'A Dangerous Method' is an intriguing intellectual ménage a trois, with compelling work by its leads. Keira Knightley, Michael Fassbender and Viggo Mortensen are uniformly excellent, their sparring enlivening the potentially po-faced historical events that lie behind it. But we are in the hands of a master, and there is no danger of David Cronenberg dropping the metaphorical ball as he wrangles Christopher Hampton's screenplay, from his play 'The Talking Cure', from John Kerr's book ' A Dangerous Method' - are you with me? So how should this make us feel? Well it's a highly enjoyable costumed romp through the early days of psychoanalysis, made with flare and driven by strong performances. There is ample opportunity for DC to provide some signature body-shock moments, which he does, and these are central to a brave turn by Keira Knightley, whose performance is the stand-out (arguably topping the Fass himself, no mean feat). ‘Bend It Like Beckham’ this is not, more like 'Love Actually' Cronenberg style.