Rating: 18
Cast: Simon Rex, Bree Elrod, Suzanna Son and Brenda Deiss,
Directed by Sean Baker
Written by Sean Baker and Chris Bergoch
Length: 130mins

Rising from the indie filmmaking scene in recent years, and becoming known as the director who innovated the low budget, iPhone-utilising style of storytelling, Sean Baker is progressively growing from one strength to the next. Perhaps best known for his previous two films, ‘Tangerine’ and ‘The Florida Project’ – the first of which made heavy use of non-professional performers, as well as being completely shot across three iPhone 5S’s, and the latter containing many similar traits, Baker is clearly a director who’s unafraid to try new ideas.

‘Red Rocket’ tells the story of an ex-porn star named MIkey Saber, who has to return to not only his small-town name of Mikey Davies, but the town itself, residing deep enough into Texas for the film to be engrossed in the strong drawl of the deep South. As previously mentioned, Baker clearly has a love for working with unconventional actors, a technique which brilliantly builds the world of ‘Red Rocket’. Led by a former MTV performer in Simon Rex, as well as other cast members being scouted whilst waiting tables or walking their dog, there’s a clear authenticity in the way they bring their characters to life, which merges perfectly with the impulsive camera movements and narrative points of the film. Simon Rex in particular stands out, delivering what could be argued as one of the greatest performances so far this year. Throughout the film, you’re unsure as to whether you love him or loathe him, and yet if you read about the actions of Mikey Saber in some newspaper article, you’d never have any doubt than to pin him as a villain. To play with the audience’s emotions in such a way takes true talent, and considering that Rex only had a three-day trans-American drive to prepare for the role, as well as filming the entire movie without the knowledge of his agent, it all seems to have turned out fairly well.

Texas has a habit in films of being portrayed as a low-poverty area that appears unwelcoming to newcomers, but is home to some of the most beautiful landscapes in the entirety of the US. ‘Red Rocket’ never claims anything on the contrary, but is undeniably infatuated with the skylines that plague this strange and chaotic land. Cinematographer Drew Daniels’ lens captures the South in its most tender moments, with the pinks and oranges of the lit-up sky providing a perfect backdrop to the donut shop or rundown houses which comprise the majority of the film’s locations. Once again seeming to paint our ill-intentioned protagonist as a hero, the way in which the landscapes are shown throughout ‘Red Rocket’ merge deeper into the uncertainty over what the audience feels towards Mikey, as he eagerly bikes through town towards whichever poor soul is next to cross his path.

Although on the surface ‘Red Rocket’ may appear to be a deeply sad film about broken homes and corrupt relationships, there are some excellent moments of comedy littered throughout. Bakers’ talents when working with larger-than-life characters and exaggerated dialogue was one of ‘Tangerine’s’ greatest strengths, and is something that shines through in many scenes throughout ‘Red Rocket’. Moments of sincerity are interrupted by complete stupidity or foolishness in a way that never feels unjustified. The natural performances and style of Baker’s work remains consistently great throughout, making it hard for any cinema-goer to look away, even if they may want to.

‘Red Rocket’ might not break the box office or ever receive the recognition it deserves at mainstream awards shows, but it would be a shame to let the film slide away uncelebrated. Sean Baker has once again shown himself to be one of the most creative indie filmmakers today, with each new release bringing another delight to the table.

Rating: 12A
Cast: Jim Broadbent, Helen Mirren, Fionn Whitehead, Matthew Goode, Aimee Kelly and Charlotte Spencer
Directed by Roger Michell
Written by Richard Bean and Clive Coleman
Length: 96mins

In August 1812, somewhere in Madrid, Francisco Goya painted the portrait of the Duke of Wellington, a tired but successful general. In August 1961, somewhere in Newcastle, bus driver Kempton Bunton – also tired, but hoping to be successful – headed down to London to steal the very same portrait. Starring classic British performers Jim Broadbent and Helen Mirren, ‘The Duke’ makes for an entertaining and easy-watching drama with an added layer of morality within its contempt for the rich-poor divide in the UK. 

Although Bunton (Broadbent) is not a man with a great deal of money to his name, ‘The Duke’ brilliantly shows the beauty in what he does have, and what is most precious to him – namely his family, and the burning desire inside of him to do right by others. He’s a clear hero to the story, allowing the real-life narrative to be framed as a quest for equality in the name of selflessness. Through the writing, as well as a delightfully playful use of music, the Bunton family are shown to be compassionate and caring people, who simply want to get along and make the world a little easier for those around them. A reflection of so many other families at the time, as well as in today’s world, it’s films like ‘The Duke’ which leave audiences with a deeper appreciation for what it is that they have, rather than what they feel they need – not something that can be said of many other heist films.

Jim Broadbent and Helen Mirren’s natural chemistry on screen highlights the talent shared between the two, which has been cultivated through years of experience. Whether they’re dancing around their living room whilst the radio signs happily, or battling a speechless argument through facial expressions and simple gestures, the relationship experienced by the audience is one that has clearly had its ups and downs, but remains strong throughout. Furthermore, Fionn Whitehead’s performance as their youngest son brings a great new dynamic to the family, as well as some charmingly funny moments between father and son. 

In terms of the crime itself, the absurdly grand nature of its occurrence contrasts brilliantly with the simple nature in which it’s carried out, as well as presented within the film. The idea of waltzing into the National Gallery and picking out a piece of century-old artwork for the good of the working class may seem like something out of a Billy Bragg song, but the fact that this actually took place is heartwarming, and allows for some great moments of humour amongst the severity of its action. The film works really well to frame this scene as a moment of comedy, and reflects the mischievous, schoolboy nature of Bunton shown within most other moments in the story.

From a filmmaking standpoint, ‘The Duke’ isn’t going to be breaking any barriers or pioneering any techniques, but it sets out to tell its story in a way which is fair to its non-fiction roots, and manages exactly that. There’s a distinct charm amongst the performers and filmmakers at work here which British productions often seem to so easily tap into. For anyone wishing to experience two hours of unbridled positivity amongst situations which aren’t always the easiest, ‘The Duke’ is definitely the film for you.