March 19, 2024

25.8.23 A reminder that injustices should never be forgotten, Till retrospects a dark day in American history with painful honesty, in an attempt to provoke blood-boiling fury. Most memorably, it features an impressively stoic and emphatic performance from Danielle Deadwyler as Mamie Till, the mother of the desperately tragic Emmett Till. Snubbed at the Oscars in favour of established Hollywood stars? Possibly. Deadwyler embodies intense grief and unconditional love towards her son and later becomes a huge force in the face of a frankly racist and disconnected American legal system. You feel every bit of her pain, yet also her dignity and resolve. Short of showing his death on screen, Till emotively depicts the brutal and disgusting murder of young Emmett, forcing us to contemplate the horrific violence and trauma he no doubt suffered. While some may find the scenes of his bloated and mutilated corpse too graphic, I believe it’s important we don’t shy away from this dark chapter of Western history that doesn’t feel that long ago. Understanding the full impact of racist violence is vital; powerful too is the decision to show Emmett’s disfigured body after being dredged from the river, a stark visual reminder of the inhumanity inflicted upon him. Whilst some critics have marred Till for not exploring the broader civil rights movement enough, or being too informational in parts, I believe that misses the core strength and focus here – an intimate mother-son story. At its heart, this is Mamie’s tale, highlighting her relentless pursuit of justice and refusal to let Emmett be forgotten. The subtly smart direction reinforces this; the mostly white defence lawyers, judges and crowds barely come into focus. This is deliberate, keeping our eyes locked on Mamie right up until the heartbreaking but solemnly sweet ending. Till had me crying seething, furious tears in moments and left me motivated to do my bit (discussing with my sociology students upon their return to school this week) about the importance of fighting inequality and racism today. For sparking such a visceral emotional response and highlighting a key, overlooked chapter in the civil rights movement, I have to commend Till for achieving its aims and hope that Deadwyler gets the recognition she deserves more in the future.

27.12.23 Theatre Camp is a comedy that celebrates the passion and talent of drama enthusiasts and performers, both familiar actors and an impressively energetic young cast. Reminiscent of Christopher Guest mockumentaries like Best in Show and Waiting for Guffman, it follows a summer theatre camp and all the drama, shenanigans, and humiliating moments that come with ambitious stage talent in close quarters. Molly Gordon and Nick Lieberman shine as the leads, playing off each other well and anchoring the diverse ensemble. As someone who worked at American summer camps, I found the film incredibly relatable and cringe-inducing in the best way. The mortifying flashbacks it triggered made it more hilarious for me, with many scenes delighting me in laughter thanks to the sharp improv skills of the cast. Many of them shine, with my personal favourite of the lot being Ayo Edeberi, playing a role very similar to her one in the TV show The Bear, as a novice who just shows up and becomes more confident in her skillset as the story develops. However, like watching stand-up on screen, some of that in-the-moment comedy magic fades after viewing. While undoubtedly funny, many of the best moments aren’t necessarily quotable out of context. The humour springs more from knowing the characters and their dynamics than snappy, shareable one-liners. I’m not sure if people who haven’t experienced this way of life in some way will get much out of it. But it’s still a solid comedy that celebrates the often absurd but earnest passion of the stage-struck. It likely won’t become an enduring classic, but it’s an entertaining experience in the moment, especially for those with personal camp experiences. The performances carry it through the somewhat forgettable story. A unique, frantic comedy worth watching even if it doesn’t leave a permanent impression.

28.9.23 A chocolate box highlight reel of Wes Anderson’s most famed works, The Wonderful Story of Henry Sugar is a brisk 40-minute tale told in his signature style. Though compact, its imaginative premise satisfies as a bitesize adventure, although I do admit to daydreaming during the film that it would be better as a West End show split into two parts. Nonetheless, Anderson gathers an all-British leading cast of stars he hasn’t worked with before (with one surprise cameo), but their energy and comedy timing fit so well you would have thought they’d been working with Wes for decades. Benedict Cumberbatch is loveably pompous as the eccentric title character, while Ben Kingsley brings physical comedy as the mysterious mentor figure Imdan Khan. Though the story itself is featherweight, Anderson’s visual invention shines through in the elaborate library and vibrant jungle sets. However, without obvious depth or impact, Henry Sugar feels like a trifling effort compared to the likes of The Grand Budapest Hotel and Moonrise Kingdom. Despite that, it still offers a dose of Anderson’s trademark whimsy which may have utility on Netflix; serving as a gateway for newcomers to discover his aesthetically pleasing storytelling.

11.3.23 The Whale isn’t as controversial as the noise surrounding it suggests. It boils down to being an effective but stagey family drama, with Brendan Fraser’s powerhouse performance taking centre stage. Despite there being more to admire in the film than simply Fraser’s portrayal of an obese and reclusive English teacher, such as the performances of the female cast, The Whale isn’t great and there are many better films within this subgenre.  Getting straight to the point, although Fraser’s performance is compelling and heartfelt, his character as a part of the narrative feels like a spectacle rather than a humanised character. I am sure it wasn’t the intention of Aronofsky to have the character come across this way, but I felt it near impossible to see the character of Charlie as anything but a contrived plot device; something to behold rather than someone to empathise with. The performance isn’t artificial, but the character of Charlie is an artifice, or a construction that I find so hard to look past. I was massively obese as a young person myself, so I don’t find it rude to say that. I just don’t think dramas where someone’s weight is a part of the plot, are very interesting. On a different note, many of the film’s motifs such as Zoom lessons, webcams and Facebook comments all seem quickly outdated and out of the zeitgeist in 2023. And although the roles of all female actors are fantastic particularly Samantha Morton, they have to wrestle for screen time in lieu of the focus on Charlie. Perhaps The Whale is at its best when learning about Charlie’s tragic history through the interactions of the supporting cast, but those moments are not as developed as they could have been and I am curious to think if flashbacks with a frankly thinner Charlie and his family would have been worthwhile. As an audience, we know Brendan Fraser’s backstory, so when watching The Whale I felt more interested in rooting for him and his Hollywood banishment rather than Charlie’s attempt at salvation. Paradoxically, this is the biggest strength as well as the biggest weakness of the film. So to echo what many others have said; the Fraser comeback is on. It’s just a shame it had to start like this.

26.2.23 I fucking loved The Father, mainly due to Anthony Hopkins’ phenomenal performance, as well as the sublime manipulation of the film’s interior set, which left me second-guessing reality for most of the duration. In comparison, The Son is an enjoyable follow-up (or quasi-prequel), and although it lacks any comparably exciting plot devices, it has some really great performances in it as well as some heart-wrenching but predictable moments. Hugh Jackman’s character is very familiar (a high-status New York lawyer who appears to have it all), but his commitment to the role is both intense and measured, depending on the scene. I am not a father myself but I felt like this portrayal of a man with a troubled son is indeed genuine, although I do understand some of the criticism for the film’s heavy-handedness, as well as the actor playing his son (who I have honestly never heard of before). The dramatic tensions in the family become more splintered as the film develops, as you would expect when you invite a depressed teenager into your young second wife’s apartment whilst caring for a newborn, but unlike in The Father where the mystery keeps unfolding, things seem to become a bit too adversarial in The Son, and my wife and I totally saw the ending coming. It’s definitely worth watching, especially for the excellent Hopkins scene, but also to flesh out this small universe of dark family life that Florian Zeller has created. Bring on The Mother or, The Holy Spirit, or whatever he calls film number three.

18.2.24 I can proudly say that Ken Loach was one of those directors alongside David Fincher, Terence Davies and Stanley Kubrick that turned me from a casual moviegoer to a rabid cinema lover. His best works strike the perfect balance between capturing the character and humour of English culture against a usual gritty background, saturated in social realism. Sadly though, some of his works in the last 20 years, such as Jimmy’s Hall and Route Irish, feel stale, unoriginal and lacking urgency. His latest effort The Old Oak is alongside those and feels like a faded photocopy of his past triumphs. While the elements are there – disenfranchised characters, political commentary, a hopeful eulogy at the end – the narrative just doesn’t quite come together convincingly. We follow Syrian refugee Yara and unemployed ex-miner TJ as they bond over their economic hardships in County Durham, in the deprived north of The UK. Loach means to draw parallels to the Miners’ Strikes of the 80s, suggesting migrants are convenient scapegoats for the Tories’ failures. It’s a noble idea clumsily executed, with shallow characters and some truly wooden performances from the leads. We invest in TJ’s plight, but Yara feels more like a plot device; an unlikely character in the setting revealing candid yet forced lamentations. Unlike the authentic turns of Dave Johns and Hayley Squires in I, Daniel Blake, the subpar acting makes emotional investment difficult. There are glimmers where Loach’s instincts shine, nailing the anger and hunger faced by communities abandoned by uncaring politicians. He rarely misses when capturing working-class voices with humour and heart – but here his touch feels tired and predictable. His once-fresh style has become stale, compromised by repetition, not innovation. The film is at its best when it directs a parallel between the economic hardship small towns face at the hands of the Conservative party and union workers, explored through great, naturalistic dialogue in the film’s titular old pub. As a Tory-hating Brit, you have to admire Loach’s refusal to abandon his social realist vision. But The Old Oak confirms that even the most distinctive directorial identities risk creative stagnation. Yes, the film reflects his signature stripped-down style. But there’s a difference between maintaining a style and derivative recycling of old ideas. Sadly, The Old Oak clings to a worn-out formula rather than breaking new ground.

11.11.23 Immaculate precision beset by an almighty cockup. The Killer has all the hallmarks of David Fincher’s technical, ice-cold approach. Full of memorable high points and great monologues from Michael Fassbender, the relatively simple narrative reflects a curious, morally ambiguous worldview. The backdrop of melancholic songs from The Smiths also lends the right amount of edginess to a film which impresses but doesn’t end on the high note it seems to be arriving at. The first 30 minutes in particular are riveting, plunging straight into the sleek, stylised world of Fassbender’s methodical killer. Later down the line, we’re treated to one of the most visceral and well-choreographed fight scenes I’ve seen in years. Even Tilda Swinton manages to make her mark as a rival assassin, scary without being threatening, totally capable yet slight of frame, and intense yet oddly likeable in her screen presence. However, the film unfortunately loses steam in the final act. The climactic confrontation between Fassbender and the main ‘villain’ lacks punch, while the ending feels rushed and unsatisfying. This is a shame, as Fincher’s razor-sharp direction and the charismatic leads had me gripped for much of the running time. While not a new genre classic, The Killer ultimately provides solid entertainment value, making it a decent addition to Netflix but not so impressive when you consider Fincher’s legendary back catalogue. 

26.12.23 The Flash isn’t an awful film, but it feels awfully pointless. It’s clearly been made by a group of people who know that DC’s extended universe is breathing its final gasps of air, so it brazenly throws in an embarrassing number of stars in minor roles for one last chorus before the new Aquaman movie likely nails the coffin shut in 2023. But for all its creative faults, cheap-looking CGI in several action sequences, and trying so hard to emulate the MCU whilst failing again and again to do so, a lot of the elements in The Flash did work for me to some extent. Ezra Miller does a decent job portraying a few different iterations of Barry Allen, displaying some acting talent mainly through silly humour and physical goofiness. There’s also a fun, nostalgic appearance from Michael Keaton, reprising his iconic role as Batman which shouldn’t work given his acclaimed and masterful performance in Inarritu’s Birdman. Yet, it delighted me to see him don the classic black and yellow Batsuit and shoot some baddies with the grappling gun.   I also moderately enjoyed the new take on Supergirl, played committedly by Sasha Calle, despite the reappearance of rather tedious, poorly developed villains like General Zod and a few pointless callbacks to other lacklustre DCEU characters which feel shoehorned in likely due to financial and contractual obligations. More controversially though, I prefer this to Guardians of the Galaxy 3, just because I didn’t find the humour in that film, nor the animal abuse entertaining or enjoyable. As usual with DC movies, The Flash is easily 30 minutes too long, with drawn-out, slo-mo action scenes and weak plot threads that offer nothing memorable for viewers. Ultimately this film hasn’t encouraged me to see the new Aquaman movie, especially after Jason Momoa’s boring performance in Fast X earlier this year, or to dip my toes into the Flashverse or Arrowverse.  I have no problem bidding a not-so-fond farewell to the mostly disappointing DCEU experiment and hope new DC leadership alongside James Gunn can course-correct these much-loved characters going forward.

5.9.23 Satisfying and reliably entertaining, although a bit undercooked, The Equalizer 3 delivers exactly what you would expect from the third film in the franchise. It’s fair to say that the series has always been carried by ‘The Man’ Denzel’s commanding presence, and now nearing 70, Washington’s Robert McCall is older and more vulnerable but still undeniably capable. A messiah-like figure living amongst the mafia-downtrodden citizens of Altamonte, Italy.  His ruthless pursuit of justice remains as captivating as ever. However, the fade transitions and odd ending structure do give the film a slightly cheap feel. While Washington is as smooth, confident and watchable as ever, the lack of a truly hateable lead villain or final moment of proper retribution keeps this entry from reaching the dramatic heights of the first two films, as well as the excellent Italian show Gomorrah which it echoes in tone and style.  Man on Fire fans will delight in the scenes reuniting Washington and Dakota Fanning, now a very capable and intelligent CIA operative, and their chemistry remains spirited. However, big names like David Denman are wasted in functional, underwritten roles. A silly inserted romantic subplot also feels incredibly unnecessary. Still, fans of the franchise should find plenty to enjoy in what is probably McCall’s last crusade. The action sequences and violent kills deliver a dose of adrenaline, and some of the mafia goons, although thinly written, generate enjoyment when they get predictably ‘equalized’. Ultimately, The Equalizer 3 brings little new to the table and probably closes the trilogy without forging new ground. Washington fans will surely revel in his effortless charm and sheer force of will, however those seeking a fresh action thrill ride may be disappointed.

21.10.23 Brooding and unpredictable, The Beasts is an impressive psychological thriller that generates palpable tension and unease. Director Rodrigo Sorogoyen throws us headfirst into rural Spain, where the unchecked nature of human violence and hostility towards outsiders takes charge. Simmering beneath the surface tension lies thoughtful explorations of nationalism, xenophobia, and class divides. For lifelong Galician farmers Xan and Lorenzo, the financially rewarding proposal of wind turbines offers an escape from lifelong hardship and misery. But for the wealthy French expats Antoine and Olga, who have merely been “playing at farming” these past two years, the untouched farmland holds value beyond money. The Beasts exposes the primal territorial nature of man when threatened by foreign encroachment and changing times. Much of the film’s success revolves around building mundane situations into crescendos of tension. The tempo of each scene, many being extended shots with lengthy dialogue, is expertly managed to keep viewers on the edge of their seats. Mirroring sequence shots of the main characters showcase complexities between the key characters, which elevates the story above most thrillers I’ve seen this year. At the heart of the film lies the imposing physicality and remarkable performances of its stars. Denis Ménochet (the French father from the opening scene of Inglorious Basterds) and Luis Zahera (an actor who I’d never seen before, but who excels here as the rage-inducing villain) play nemeses stuck in a primal standoff, with their acting muscular and intense.  While The Beasts features some grotesque caricatures of the rural Spanish, it ultimately succeeds; the first hour in particular oozes with almost unbearable suspense. Viewers seeking a combination of thrills, nuanced characters, and cinematic craft will find much to appreciate here. With powerful performances, taut dialogue, and a surprising narrative shift in the third act, The Beasts is a memorable thriller with striking imagery and political substance which is worthy of much discussion.