LFF Review: 12 Years a Slave

It seems almost redundant at this point to compare Steve McQueen's third film and potential breakthrough into Hollywood to Quentin Tarantino's blood-spattered "Southern" Django Unchained, and yet, it also seems impossible not to. After all, the films are so similar, and so very different. Having watched Django just a few days ago, it remains all too fresh in my head. And while, at the beginning of the year, I was very much sold on Django as a film that managed to combine both the suffering of slavery with unmistakably Tarantino-ish gestures, (blood, feet... more blood...) 12 Years a Slave without a doubt is greater than Django (and this comes from an undying Tarantino fan), and, in all honesty, most films that have so far been released this year.

The film tells the real-life tale of Solomon Northup, a freeborn black man and classical violinist, who is unwittingly kidnapped on a trip to Washington. From here, Northup is sold into slavery, and is put through a series of harrowing ordeals as a slave. For TWELVE WHOLE YEARS. So far, so white guilt, but unlike pretty much every director who's made a film about slavery, McQueen (who is himself black, though really his race should be irrelevant with regards to this film) is surprisingly unsentimental. He doesn't need to be. The thought of slavery alone is a horrible one, and there are scenes in this film that had me crying without the saccharine melodrama of Hollywood. So while, with all slavery films, we can see that the white slave owners are of course in the wrong, we don't cheer when wrong befalls them like we do when Django shoots someone in the genitals. Probably because everybody is too busy sobbing into their popcorn.

One thing that has been universally heralded are the performances. You may hear the words "power-house" thrown around in the next few months, and these descriptions are completely accurate. Chiwetel Ejifor has always been a remarkable actor, from Love Actually to the brilliant Dirty Pretty Things, and now finally comes the time for him to be revealed as the star that he really is. If he doesn't receive Best Actor come January, I'm sure a lot of people, myself included, will be eating their proverbial hats. Also astonishing and award-worthy is newcomer Lupita Nyong'o as fellow slave Patsey, the unfortunate object of her master's lust and mistresses hatred. In fact, it feels a little mean to draw just those two actors out of an ensemble who are all at the top of their game. I've had many reasons to be angry at Michael Fassbender over the years, (the domestic abuse claim, the time he ordered his drink wrong in Inglorious Basterds...) but working for the third time with McQueen and back in the crazy zone, he is brilliant.

I feel a little cruel writing this review as I remember that this film isn't actually out in the UK until 2014. But I haven't felt such a strong sense of passion, a sense of "everything about that was perfect" about a film for a long while. It seems incredible that such a film about slavery can really have been made by a British man, but it's true. When we come to look back on slavery, when children are educated and we come to reflect on 2013/14 in film, 12 Years a Slave will, I'm sure, instantly jump out. McQueen has added yet another classic to an ever-flourishing career.

Grace Barber-Plentie

Review: Filth

Filth is an example of an alright film that is elevated to a great one due to a brilliant lead performance. The film tells the story of Bruce Robertson, the cocaine snorting, self-destructive detective sergeant who is hell-bent on getting promoted whilst dealing with his own demons in very fucked up ways. The film never condones his horrifying behaviour and yet manages to evoke some sympathy for what is truly an unlikable characters. It really is James McAvoy’s show: the scenes without him just don’t stand up to the same level and the other actors are elevated when they’re opposite him. McAvoy revels in the hilariously shocking scenes and well as dealing with the emotionally shocking ones.

However, it does end up a bit messy in the third act, then tries to redeem itself with a twist that isn’t quite executed well enough. From that point onwards, the structure seems to fall apart and its shock after shock that leaves you walking away from the film trying to work out if any of it was really necessary. Not all of the surreal scenes work either. Although funny, Jim Broadbent’s role seems superfluous as did the car sing-a-long.

That said, I really did enjoy the film. It balances the funny and the harrowing well and at only 97 minutes, it never overstays its welcome. Eddie Marsan as Bruce’s best pal Bladesey and Shirley Henderson as his wife Bunty are brilliant. Imogen Poots and Jamie Bell also hold their own as his rival colleagues. If you’re from Edinburgh, you’ll also get all the extra references that may pass over other audiences’ heads and it’s exciting to see your hometown on screen – even if it makes us look awful. It’s also a nice change to see a film made specifically for a Scottish audience instead of catering to an international market. Because of this, and also the pretty disturbing nature of the film, it may never receive American distribution which really is a shame as McAvoy deserves at least a nomination for his work.

Overall, it may not be perfect, but for wee Jamesy boy alone it’s worth it.

Beth Johnston