Winter’s Bone review

Winter’s Bone (15, 100 mins)
Director: Debra Granik
★ ★ ★ ★ ☆

In the bleak and harsh Ozark mountains of rural Missouri, 17 year old Ree (Jennifer Lawrence) looks after her sick mother and younger siblings, often forced to beg for food and charity from neighbours. Her no good father has skipped his bail and if Ree doesn’t find him within a week, they’ll lose their home.

It’s a place where crime is a way of life and practically the only employment is cooking methamphetamine. So no one is willing to help Ree, generally because it could cast a view on their own activities, and anyone asking questions for whatever reason, even if they're family (and most of the people in the region are family), are not to be entertained.

It’s a harsh land populated by hard people, many of them about one step removed from banjo twanging mountain folk, some of them not even that. It’s the sort of environment that’s usually home to horrors where teen partygoers get lost in the woods and are never seen again.

But here it’s the home to a sort of detective story in a world we never get to see in detail, with those in the know living by their own twisted code of honour. Full of local authentic flavour, it harkens back to something like The Wicker Man, with its closed, secretive, self-policing community.

With its simple, straightforward dialogue and brutally convincing characters, Winter’s Bone is a stunningly effective thriller that quietly grips and builds tension masterfully, offering some of the most dramatically and emotionally impactful scenes of the year so far.

Ree is a little girl having to grow up fast and Lawrence is exceptional, vulnerable and courageous in equal measure. But in a group of mostly unknown but perfectly cast actors, special mention should go to the outstanding  John Hawkes, who gives Ree’s unpredictable uncle, Teardrop, a razor sharp balance of menace, loyalty and unpredictability.

The only reason he, Lawrence and the film itself will probably not get the Oscar nominations it deserves is because it will end being very little seen, but that doesn’t mean you shouldn’t seek it out.

Cyrus review

Cyrus (15, 91 mins)
Directors: Jay Duplass, Mark Duplass

★ ★ ★ ☆ ☆

Divorcee John (John C. Reilly) is depressed and lonely, made worse by the news that his ex-wife (Catherine Keener) is remarrying. He gets a boost when he meets the lovely Molly (Marisa Tomei) but struggles to bond with her grown up son Cyrus (Jonah Hill), a forthright young man who is perhaps a little too close to his mother. As John and Molly see more of each other, Cyrus’ behaviour becomes increasingly odd and disturbing in a low-fi indie given polish by a highly creditable group of actors. It deals in discomfort and is grounded in reality, not slipping into the daft escalation of situations that you might expect, but where it stops, nobody knows. At the same time though, it’s all pretty slight but it’s worth it to see such a top rate cast come together, especially the wonderful Tomei. But it’s mostly Hill’s show, and he plays it quiet but intense, ably demonstrating that he might just have more range than his Superbad co-star Michael Cera.