Britain can still pack a punch, even if the director is Danish.

If you were to read my first blog, you would read that I rate Peter Sarsgaard very highly. The Kiefer Sutherland lookalike has been one of my favourite character actors since 'Boys Don't Cry', and I even forgave him for 'Orphan' which although there is no official list, was one of the five worst films of 2009. Not just in my opinion, but in most people's. Strange to think that the two leads would go on to receive masses of critical acclaim for further performances in 2009. Vera Farmiga will most likely receive an Oscar nomination for her role in 'Up in the Air', while Sarsgaard achieved rave reviews for his role in a lovely little Nick Hornby-penned picture called 'An Education'.

And it is a lovely little picture, not only of Britain on the cusp of the 'swinging sixties' but of teenage naivety in its very purest form. Lone Scherfig's first film in English in seven years, 'An Education' is the story of Jenny (Carey Mulligan), a sixteen year-old A-level student with her sights set on Oxford (or rather, her father's sights) until she meets mysterious playboy David (Sarsgaard) and discovers a plentiful world outside the exam hall.

What is instantly striking about this film is the almost overwhelming amount of near perfect performances. Carey Mulligan is a beautiful revelation as our lead, but the strong support from Sarsgaard, Alfred Molina, Olivia Williams, Rosamund Pike, Dominic Cooper, Cara Seymour and the always enchanting Emma Thompson really make 'An Education' feel like an iconic British film that will stand the test of time. Even more impressively, Mulligan stands her ground against a who's who of British talent and provides the audience with a character that will more than likely earn her a Best Actress nomination come February. On top of that, I think she'll win!

The character of Jenny is as progressive as the film's themes, almost evolutionary. When we meet her she is a few Latin tutorials away from Oxford, head buried in textbooks although it is evident from the get go that hidden behind her well-disciplined, intellectual front is a penchant for the arts, namely French culture. She is practically forbidden this outlet, until a chance meeting with the suave and sophisticated David changes everything. It is only once David is part of her life that we are able to realise that beneath her mature-beyond-her-years, cultured and ambitious exterior, Jenny is as naive and as vulnerable as any sixteen year-old girl. Easily frustrated and quick to rebel, even quicker to consider trading an Oxford future for her first love, Jenny's sparks of maturity are quickly quashed by David's staggering immaturity and reckless abandon. While their feelings for each other are no doubt genuine, his influence was always going to be innocently negative, and I found myself praying at the halfway mark that he didn't hurt her as it became increasingly evident that his relentless charm would have to at some point wear thin. As his charm increases in monetary value, so does her naivety to the point where she overlooks the fact that he is essentially a thief. From that moment on, it is only a matter of time before Jenny reaches into the glovebox for a French cigarette only to find an empty box.

Watching this relationship develop from a modern perspective is difficult, as the more they fall for each other, the more you can't help but feel that whatever he is hiding is going to crush her. Nowadays, the amount of thirty-somethings chasing impressionable students is hardly suprising, with MySpace and Facebook paving the way for textual grooming. To fully understand this particular relationship however, you have to identify with the era. The period in which the film is set makes it all the more feasable. For example, Jack (Jenny's father played by the often overlooked but always endearing Alfred Molina) is quick to accept David into his daughter's life regardless of his age and Jewish background. Why? Because he has something to offer her. Traditional values (apparently) coupled with obvious financial stability. In short, all a father could ever want for his daughter. How quickly his attitude towards her education changes as soon as the prospect of financial relief reveals itself.

Jenny puts it best when she questions why she has been encouraged to push for an Oxford education when she could have been selling herself in nightclubs, if all her father cared about was fiscal stability in later life. Lest we forget that 'An Education' is set in a time where women were not particularly empowered and were often simply passed from father to husband without much concern for personal development. A prime example of this is Rosamund Pike's Helena, a character you can't help but feel Jenny would grow to resemble should she continue along the path that involves borrowing her clothes.

In 2009, there wasn't a better written film (I'm of course referring to Jason Reitman and Sheldon Turner's 'Up in the Air' as a 2010 release) in terms of an identification with its time and with its characters. A true coming of age picture though set in the sixties, this should clear up at the BAFTAs and make a strong statement as a Best Picture contender in March. It will lose out on a screenplay gong to 'Up in the Air' for sure, but will launch Nick Hornby's career as an internationally recognised screenwriter. Anyway, awards don't make a film any better when it's already making straight As in a class of its own.

Proof that Peter Sarsgaard is one of the best actors of the decade.

With the release of 'Call of Duty: Modern Warfare 2' looming, it seems fitting (as it can be) to have a quick look at one of the finer war films to come out since the end of the Gulf War.



This film is so fine in fact, that I tend to often overlook the fact that it is directed by a Brit. And not just any Brit, Mr Winslet himself, Sam Mendes ('American Beauty', 'Revolutionary Road', 'Away We Go'). With strong performances from Academy Award nominee Jake Gyllenhaal and deserved Oscar winner Jamie Foxx, this is a film that relies on the solidarity of it's cast and the strength of it's script rather than the blood and guts of it's predecessors.



Having grown up as the son of a USAF Tech Sergeant who served during Desert Shield, I can testify to the emotions and attitudes conveyed by the cast of Jarhead. While my father was never sent to the Middle East, the patience and frustration on display in this film still resonate with me to this day. As shown through the marines' broken relationships with family and friends back home, the time spent pitting scorpions against each other, playing American football in chemical suits and masturbating took its toll on more than just the soldiers. The time spent not firing a single shot affected every relationship in these boys' lives, as well as their relationships following the end of Desert Storm (which lasted all of five days).



This frustration, this testing of wills and of patience although painted well by Mendes, is brought to life by the remarkable Peter Sarsgaard ('Garden State', 'Rendition' and more recently the Sundance success 'An Education') who manages to own the film using nothing but the simplicity of tone. While his fellow Marines really do come across as the definition of 'jarheads' (especially Swofford, despite his emotional complexity), Sarsgaard's Troy seems a far more intellectual character, even if he isn't. Who knows? It could be experience rather than intellect. Either way, Troy's often monotonous drone leaves a lot to be interpreted in regards to how he actually feels about anything. With Gyllenhaal's Swofford, you get his heart on his sleeve. He is the central character, so it's only fair. The same applies to the straightshooting Sykes (Foxx), and loner O'Donnell (played by Brian Geraghty who appears more recently in the phenomenal 'The Hurt Locker').

Some might say that Sarsgaard is just playing a war-torn version of himself, and they would be correct, but his style and grace fit the role of Troy perfectly. His drone compliments the boredom of Desert Shield (the whole point the film is trying to make), and his penultimate scene with Gyllenhaal and 'President' Dennis Haysbert is one of the more moving pieces of cinema that Mendes has ever crafted. The culmination of 175 days of bullshit all comes crashing down in front of you, and in a split second Sarsgaard becomes a modern gem.

'What difference does it make?'