Review: Denial

The Shocking True Story of the Court Case That Put the Holocaust on Trial

By Chris Sabga

Release Date: October 21, 2016 – U.S.

Rating: PG-13

Genre: Biography, Drama, History

Running Time: 110 minutes

Director: Mick Jackson

Writers: David Hare (screenplay), 

Deborah Lipstadt (book)

Cast: Rachel Weisz, Timothy Spall, 

Andrew Scott, Tom Wilkinson

Attention, Academy: Give Rachel Weisz the Oscar! The London-born actress's startling transformation into a tough-talking teacher from Queens, New York, is nothing short of extraordinary.

I'll be honest: It's a pet peeve of mine whenever a performer attempts an accent that isn't their own. Let's face it: it doesn't always work – at least not 100% effectively. Oftentimes, you can almost see the gears grinding in their head as they concentrate on adjusting their vocal chords while simultaneously remembering and reciting their dialogue. Every word out of their mouth usually feels strained and unnatural. That's not the case here. If I had never seen Weisz before, I would swear she was born and raised in New York. She's that good in "Denial."

In 1996, historian and writer Deborah Lipstadt (Weisz) was sued for libel by Third Reich sentimentalist David Irving (Timothy Spall) because she characterized his beliefs as "Holocaust denial." His actual views: the Holocaust never took place. His argument: that "denier" has become a defamatory term with negative connotations – similar to "racist" and other such words.

The trial was lengthy and cost millions of pounds. Yes, pounds. Apparently, America isn't the only country that gets itself tied up in frivolous litigation.

But there is one very important difference to note: The American judicial system of "innocent until proven guilty" does not apply in England. Instead, it is up to the accused party to prove his or her innocence. In this case, that meant Deborah – and the Holocaust, by extension – was put on trial, even though the lawsuit was filed against her.

Sounds ridiculous, doesn't it? But it actually happened.

Anthony Julius (Andrew Scott) agrees to take the case. He was previously Princess Diana's lawyer, which means Deborah's defense is being handled by an elite legal team. The stakes are too high for anything less, and the ramifications of a loss would be devastating.

In another difference from the American judicial system, it isn't Julius himself who will argue the case in court. Instead, that important duty is given to a different lawyer entirely, Richard Rampton (Tom Wilkinson, who delivers yet another solid, reliable performance in a career filled with them).

Within the first few seconds of hearing David Irving speak out against the Holocaust, Silver Screen Sister shouted at the screen: "I'm already offended on behalf of all Jewish people."

That offense turned to grief as Deborah and Richard travel to Auschwitz on a "research mission." In a stunning scene, what at first seems like air in the sky ends up being a faded montage of concentration camp prisoners descending the stairs of Auschwitz to their impending doom.

Watching the intricacies of the English legal process unfold is fascinating. In a big American trial, you would expect Deborah to passionately take the stand, and for Holocaust survivors to do the same. Neither happens in "Denial" – for very good reasons I'll leave you to discover.

This film does a great job of creating suspense for what is otherwise a forgone conclusion.

Is a court of law the right place to decide the legitimacy of the Holocaust? That's the question I raised during the movie and one the people involved in the case struggled with as well. There are no easy answers, but what cannot be debated is just how important – crucial – it is to discuss a historical event of this magnitude. Perhaps the formality of a courtroom setting is as good a venue as any. 

Review: Locke

Beyond Bane: Tom Hardy is the Next Big Thing

By Chris Sabga

Release Date: April 25, 2014 – U.S.

Rating: R

Genre: Drama

Running Time: 85 minutes

Director: Steven Knight

Writer: Steven Knight

Cast: Tom Hardy, Ben Daniels, 

Andrew Scott, Ruth Wilson, 

Bill Milner, Tom Holland, 

Olivia Colman

"Locke" clocks in at a taut 85 minutes. The entire film is spent behind the wheel of a car. The only person we ever actually see is the driver, Ivan Locke (Tom Hardy). He interacts with several people during his journey, but only over the phone. He calls his family, but he's not going home. He speaks to his boss and assistant, but he's not showing up for work in the morning. Instead, he's going to London – for reasons that will be revealed over the course of the drive.

Every other movie openly celebrates the irresistible allure of the open road. Not this one. There are no dazzling sights to see. Locke snails through an average English highway at night. Everything is dark and dull, ordinary and listless. One area blends into the next. Despite the mundane setting, the roads take on an eerie, foreboding quality.

In some ways, it's similar in structure to "Buried" from a few years ago – which featured Ryan Reynolds inside a coffin – but this is (thankfully) much less disturbing and claustrophobic.  

Flashing police lights add tension to an already volatile situation by slowing Locke down and forcing him to maintain the speed limit. Locke is locked in. Of course, there's always the ever-present threat looming of being stopped by the police and further delayed.

Then there's the matter of Locke's persistent coughing and sniffling. What does it all mean? In any other film, it would foreshadow the character's fate. But this is a driving movie without a road trip, no high-speed races or chases, and not an explosion in sight. One could possibly surmise that Locke's physical deterioration symbolizes the similar erosion of his life – but sometimes the common cold is just the common cold!

"Locke" plays with the standard "grammar" of film by taking the audience's expectations and subverting them.

This is an actor's showcase for Tom Hardy. Every scene hinges on his facial expressions and vocal inflections. It's an incredible performance. But special mention must also be made of his supporting cast, who have only their voices to work with. They include Ben Daniels and Andrew Scott (who play Locke's boss and co-worker, respectively), Ruth Wilson, Bill Milner, and Tom Holland (his wife and kids), and a few others he interacts with along the way – most notably Olivia Colman. In some ways, they have the more difficult job. They have to create relationships with the main character and further the story along – all without ever actually appearing onscreen. The two children ("Son of Rambow's" Milner and "The Impossible's" Holland) are especially strong in their roles. Mostly, they ramble on about a soccer match, but their enthusiasm and intensity really brings Locke's unseen family to life. Locke's overwhelmed assistant, Donal ("Sherlock's" Andrew Scott), is another highlight.

"Locke" is a unique experience. It won't be for everybody. For me, it's one of the coolest films of the year. Tom Hardy is a riveting presence. He's been in high-profile roles before (Bane in "The Dark Knight Rises"), but this puts him on the map as a major talent to watch closely.