Tinker, Tailor, Soldier, Spy Blu-ray: Review By Zak Lee Ferguson

The Original review - (posted in septemember)This film has been on the books for years- after the 70's Sir Alec Guinness starring role in the same name- John le Carres story and well esteemed silenced and internal character George Smiley has brewed fans, fanatics and lovers of le Carres stories- so of course a film was in the running- what with people loving the puzzles, twists, and now to step up to the max is Gary Oldman on pondering, big spectacled, softly spoken, Oscar gold mode.

This film to get the air afresh is loaded to the max with honourer a -listers from England- plain bigotedly they all come from the well polished oak of the stage world- all giving their deep conundrum of superimposition a flourish and a poise in this here stated film. To bark on and to tumble into the illogically complex story of what TTSS is it sees George Smiley take a hindered order to investigate into the rumour of having a mole in the circus- Control having bumped himself off leaves Smiley trying to connect the dots and the accusations and to try and manoeuvre in a world of status power and interrupted notions.

It sees Benidict C. Play Smiley's accomplice in charging out forth with to collects data files- all minority files and litter on the person whom is the mole in the world of MI6, where we see a very type cast annoyance throughout be smirking and beseeching irritant Colin Firth, Tom Hardy- strong here- very strong in his characters position, and the return of the grand John Hurt not just a side washed idea for a cameo but key connective for the character and woe that is CONTROL.

Not going to rail on un-apparently but this film moves along at a pace of- nill- nada- boring, trivial nonsense, though it has glacial looks from Oldman- giving off an audacity and aura it isn't enough to be smart in the way the lenses are used and its filmed- the story just seems to be plotted alongside for a extra revamp to give the director a choice of how to direct a scene and give it a notion and vibe that prioritises the situation. It is just misty eyed- a full designed setting- the 70s feel strong, but the backdrops where the destroy is fed through feedback alongside present narration doesn't work as it just seems to befit nods of heads, searching eyes, soft spoken men, a horny old analyse, and just long tediously crafted shots that will make any film maker worth his dosh who appreciates art get a Hard on- though in all honesty this is not a audacious film- audience don't seem fitted- 15 having walked out in my screening not just three hours back.

Tomas Alfredson can handle story and define the artistry but here this film is not going to get its money back from just film admirers and critics themselves, people who would like to watch this and if interested I warn you- it's an espionage thriller going back to the glory days of scrip, direction story- but here it's just an algorithm to make something stylistically faultless but systematically full of faults- namely pace and timing. With a grandeur score- top acting- a well defined story and performances to outmatch each other next year at the OSCARS- but sad to say this filmn is incomprehensibly hard to critique- as a critic and film enthusiast of the highest form- the way the film world resolves I admire pictures like this- once in viewing I had decided to give it a rating of 5- then to 3- then logic dismisses passion- it is no fun to be held in viewing just artistry- the artistry will only defined once I hear the audio commentary. Then alas I still won't be tangled in the orb of mystery and code. (End of original review)

Right, that was harsh. Well logical, it does fall under its own pretentiousness but it does have something that makes it the sure gut wrenchingly good watch what it is!

It has the décor, the design, stop on, and that was that, I found it immovable, callously simple, shallow and uptight and stuck up. But its not, its very cynical, meticulous, and the codenames and Spy speech does come to grasp, and I ended up enjoying the watch, picking it apart more, and more itself, instead of reviewing it on a filmic base, under the thought that its just a good looking well photographed Brit' feature from Tomas Alfredson. But this film does hold a lot. The rating may have gone up a tad higher but it's because its viewable, difficult to many at times, long drawn out, but after at least two viewings and one with the very silent, often conspiratorially cool Commentary with Alfredson and Oldman it becomes much more clear what the film is.

Blu-Ray only

- COMMENTARY WITH GARY OLDMAN & DIRECTOR TOMAS ALFREDSON (Top knoch)

- JOHN le CARRÉ INTERVIEW (very much an intriguing viewing, but splices of the interview are used in the poor featurettes)

- DELETED SCENES (Egg, Smiley, decoray room, smoking, dark, tinted, emotionally untightened- then a gay man flirting with a half naked Smiley)

- SMILEY FEATURETTE (Oldman seems as if butter wouldnt melt, if ever elft out.)

- INSIDE THE CIRCUS FEATURETTE (yawn inducing even at 2 mintues long)

- SHADOW WORLD FEATURETTE (Boring)

- JOHN le CARRÉ FEATURETTE (Tediously overbearing)

- INTERVIEWS WITH GARY OLDMAN (cool), COLIN FIRTH (doesnt stammer), TOM HARDY (the don), DIRECTOR TOMAS ALFREDSON AND SCREENWRITER PETER STRAUGHAN (very much intrrresting, their own systmaised outlook on the feature)

- UK PREMIERE FEATURETTE (uniteresting)

- SKY MOVIES FEATURETTE (same old same old trash)

- PHOTO GALLERY (not bad, not great)

- TRAILERS (Der dum, der dum, der dum, bam bam)

The film it was shot on is ever more lusciously beautiful and very pre-era it adds to the atmosphere and the running mans genre that its created. The ground work that leads to- Bourne jumping from roof top to roof top.

HD DOLBY

Steel Case

Very much a British cuppa will suffice, and a packet of ciggarettes.