Elizabeth Olsen portrays a young woman who recently escaped from an abusive farmyard cult in the Catskill Mountains and is taken into the care of her older sister. The name of the movie, Martha Marcy May Marlene, are the various names that the protagonist has been referred to over the course of the movie. The young girl, who I will refer to as Martha, is devoid of emotion during the beginning of her stay with her sister, presumably due to the lack of social interaction and the sexual abuse she received from the charismatic cult leader, John Hawkes. The movie often transits between Martha’s time at the farmhouse and her stay at her sister’s luxurious lakeside holiday home, sometimes so subtly that it is difficult to notice initially. As the movie progresses we see Martha’s mental state gradually degrade until she becomes unstable and constantly paranoid.

Elizabeth Olsen’s performance as Martha is what keeps this movie going, her portrayal as a damaged young girl struggling to adjust to a normal life is disturbingly accurate, the role Olsen plays isn’t an easy one and for her film debut she plays the character magnificently. Another high point of the movie is how the director creates a feeling of ambiguity throughout; there are many questions that remain unanswered once the film has finished, such as why did she manage to escape the cult so easily? What else was she subjected to at the cult? Were the reasons for her paranoia rational? etc. The major issue that bring the movie down is that at times the movie felt like a car on its last legs, it kept stopping and starting narrative-wise right until the ending, which felt slightly underwhelming.

As a thriller the movie does it’s job to an extent. It often did very well for itself in terms of creating atmosphere and leaving a sense of confusion to the viewers. The movie roles were played well and the only thing that let the movie down was the pace of the narrative. 7/10

So it’s that time of year when a new batch of films, such as Steven Spielberg’s War Horse and Michel Hazanavicius’ The Artist, are brought to our attention; just in time for the Oscar nominations. Once publicised, these films are usually a guaranteed success and mostly enjoyable, but each year I always look forward to the film that is not immediately in the public eye yet is a gem that surprises everyone. I’m hoping that this hidden gem will be a film that is a little bit different and the French director Quentin Dupieux might just be the man to provide it.

The 50-second teaser for Dupieux’s new film Wrong, due to premier at the Sundance Festival 2012, is one that I just can’t stop watching. The main plotline for this ‘comedy’ seems to be focussed on its male protagonist’s search for his missing dog, Paul. I know, it doesn’t sound riveting, yet the pure oddity of the clip makes it so absorbing. I love the beating soundtrack that accompanies the sequence and how you literally have no idea what this film will offer; what we do know is that it won’t be anything predictable.

This creative unpredictability isn’t surprising; the basic premise for Dupieux’s last feature film, Rubber, was to produce a story about a killer rubber tyre that is on the loose, telepathically killing anything in its path. Even though this sounds ridiculous, Rubber is worth watching. It cleverly plays with ideas of a traditional film plot and the opening speech, which introduces the central idea of this film, that great movies have an element of ‘no reason’, is what makes the film humorous throughout.

Quentin Dupieux’s films are definitely not be to everybody’s liking.  You might even think that they are complete nonsense. He is one of those directors who is limitless; none of his ideas are censored, he just produces them. However, I think of it as a piece of art, you cannot fail to have a reaction or an opinion. So, I wait in great anticipation for Wrong, perhaps the most creative artistic production of 2012…

Have a look at my last piece on Pedro Almodovar’s Volver here!

Mysterious Skin is one of those films that finishes and although you may have guessed it, it still slaps you in the face.

I haven’t seen a film as real and as raw as this in a long time, which is strange to say considering it features aliens, but if you watch it, you will understand what I mean. I do not want to give it away, so you are just going to have to watch it. It can be quite unsettling at times, leaving a very sour taste in your mouth and there definitely is no uplifting ending. Gregg Araki, the director, has not conformed to the usual Hollywood narrative, but with a story such as this, why would you?

The film spans over ten years and begins with two stories simultaneously, which begin to entwine years later. Joseph Gordon-Levitt (500 days of Summer, Brick) plays a young hustler in a small American town. I have always thought he picks great roles and can play some deep and mysterious characters as well as some oh so loveable ones, but in this, playing a teenage boy with no soul, a truly tainted character, he does it with such conviction that I know he is either one hell of an actor, or he has a very dark past and knows all about method acting. Later on we visit my lover New York City in the 90s and Araki has portrayed NYC to be a gritty and as filthy as the story.

There are some very odd scenes, and I’m not even thinking of the ones involving aliens, but it’s content still feels natural in the films progression. The ‘oddness’ is a true visualization of the characters emotions. The utter bewilderment felt by being a teenager with problems. I’m guessing as soon as I mention the phrase teenager with problems you assume this film is just another film about teen angst, hating your parents and society, but I assure you this is no Breakfast Club, (although, I do love that movie!) This takes the feelings of isolation to another level. One most of us have not been able to feel – and trust me, that’s a good thing.

Since it’s release in 2004, it’s actors and the cities it is set in have grown up, changed, but this story will always be fucked and relevant, whatever the year.

Beautifully crafted and manipulated, The Skin I Live In is just as visually pleasing as any of Pedro Almodovar’s films. Insanity, motherhood and transgenesis all come into play and while some parts leave you smiling, or rather smirking with laughter, others leave you feeling rather nauseous.

Antionio Banderas plays the brilliant but twisted plastic surgeon as we follow him back and forth through the past and present. He is calculated, intelligent and sinister; Banderas is Robert Ledgard. A regular to Almodovar films Marisa Paredes plays Marilia, the housekeeper, and of course we find out when visiting the past that she is much more than just that. And Vera, who’s illuminated figure is almost a character in its self is played by Elena Anaya – I would love to think it all natural, although I am sure some of it was due to a fantastic make up department.  Anaya plays the captive very well; her eyes are haunting and full of wonder.