March 19, 2024

4.6.23 Reality reminds us that sometimes, fact is indeed stranger than fiction. It’s a pretty unusual chamber piece, which delves into the true story of Reality Winner (yes, her real name) and whether or not she leaked classified documents regarding the 2016 USA elections. It’s a simple premise, but deliberately heavy and unsettling in style to manufacture a sense of dramatic energy and moral ambiguity. The film excels in setting the mood and building ripe tension. Whether it be the ‘good cop bad cop’ routine of the FBI agents, the status of Reality’s cat, or ever knowing if she is truly alone in the house or not, these ideas create a pressure cooker atmosphere. The smart interplay between real audio footage and acting adds an intriguing layer to the narrative, creating an immersive and unique style of storytelling. I remember seeing this technique used before in a British film called The Arbor (Clio Bernard), however, I think Reality does it better, mainly because the stakes are higher and the economy of only having four actors means that it suits the confines of the film’s limited but effective style. Going in knowing nothing about the case is the way to go here, as I felt I could slowly begin to ponder Reality’s role and mindset as an individual working for the state. Sydney Sweeney’s nuanced but believable portrayal of a distinct and hard to work out individual reveals the importance of introspection. Sweeney is really such a versatile actor, and although she may be best known for her beauty and intense performances in Euphoria, I think she shines in her more understated roles such as this and The Handmaid’s Tale.  Reality is a really interesting film that I’m glad I seeked out. It speaks a lot about modern notions of truth and justice, and will linger in your mind for days after seeing it.

16.4.23 I like spending time with the Langs and the Van Dyne’s, but being stuck down in the CGI goop of the quantum realm for 2 hours with them wasn’t that enjoyable.  Quantumania is a cheap looking, exposition filled sludgefest that is probably the low point of the MCU so far. Jonathan Majors impresses again in 2023, and Paul Rudd just about keeps the film’s heart beating with humour and willpower. But a stretched plot, boring supporting characters and predictable action scenes really make it hard for the viewer to enjoy the film as a piece of escapism. I knew “that supporting villain” was going to pop up, but I wasn’t quite ready for just how bad the CGI is. It’s a cringeworthy and now infamous moment of modern cinema that deserves all the memes that mock it so hard. Kang as a villain is just about interesting and cunning enough to keep my interest in the MCU films going for at least another phase. Quantumania confirms what the casual cinemagoer feared when the credits of Endgame rolled; we are sadly seeing the creative decline of Marvel on the big and small screen.

1.4.23 I’ve been too busy enjoying Atlanta, Succession and The Vietnam War TV shows recently to enjoy many films, but like many others, I’ve found time to check out a standard Dreamworks picture tonight in preparation for its highly lauded, Spiderverse-style sequel. Enter Puss in Boots. The Ginger Hit Man is surprisingly a really funny and watchable screen presence, voiced with conviction by Antonio Banderas. The first hour of the film runs at lightning pace and there’s some really enjoyable dance numbers, action scenes and double-entendre jokes for the adults in the room. The animation has aged well in its smoothness and rounded characters (in terms of their physical forms, not their personalities!). The problem is, compared to the Shrek films and Pixar’s output, the characters here all feel a bit lightweight just like in the fairy tales, and I think more is required by today’s high standards to make them memorable. The opening scene suggesting that Puss is a chauvinistic lover is really well done in its balance of risque humour and taste, but many more scenes like this are needed to prevent it from being average. Plus the film is crying out for a proper villain (they got the beanstalk but no giant?!) and the betrayal twist is so telegraphed I think most kids would see it coming too. So here I am, another tragic fully grown man giving an average review of an average film just to pregame for The Last Wish. Is this what Letterboxd has reduced us to?

27.6.23 In the best way possible, Polite Society is a colourful mix of East is East, Karate Kid, Kill Bill, Scott Pilgrim and the half-decent episodes of Eastenders from the 2000s. It’s a very eclectic coming-of-age drama which follows the life of teenage girls in West London, one of who finds empowerment through martial arts.  Like Rye Lane, it vibrantly showcases the haunts of South London, but this time it’s Shepherds Bush and White City rather than Peckham and Brixton. I found it to be so refreshing, as it speaks to the inner atheist and religious critic in me. To see young Muslim women break free of tired tropes and traditional gender roles, whilst at the same time not being afraid to swear or criticise religion – well, I just thought it sent a clear anti-patriarchal, feminist message that comes through clearly.  Some of the action does become predictable and stale after one too many fight sequences, and a 10-minute trim would help the pacing, but the confident performances and fearless spirit still make Polite Society an appealing indie film. It boldly shows an important voice in a genre lacking diverse perspectives. Overall, an authentic and energised tale with some great laugh-out-loud moments, but its panto-like qualities may dissuade me from revisiting it.

Plan 75 handles the pressing topic of Japan’s ageing population crisis with care and restraint. I admire how realistic and believable the radical assisted dying premise of the film feels, which makes it technically a sci-fi but more like a human drama in narrative. It’s a modest achievement in precision and humanity from debut director Chie Hayakawa. The problem is I just don’t think it’s very entertaining and it feels a bit emotionally manipulative, as you would expect with a film that’s 110 minutes long displaying old people getting shafted by the state. With an attention demanding opening scene based on a real life incident, the story takes place in a near-future but familiar Japan in which the government has introduced a euthanasia program for the over 75’s. It’s a slow film which focuses on the intricacies and practicalities of the working age employees for the titular policy and their quiet support of the plan. This deliberate pacing I feel makes it difficult for the audience to remain engaged, but I also recognise the skill it takes from a director to make such an immoral practice seem so quickly agreed and acted upon by the consensus population. There’s a dark, disconnected and sombre feeling overall which can be seen as suitable for the plot, but I don’t feel it makes the film enjoyable or memorable. Another area of Plan 75 that I feel I need to highlight as a problem is in its stereotypes of the elderly and of other nationalities.  It’s sadly another film from recent years which feels the need to pigeonhole Filipino people as domestic workers in a precarious financial position. This economic migration pattern does ring true in parts of the world such as The Middle East and the developed Far East, but there’s nothing outside of a caricature here with the female actor playing Maria. Many other characters in the film lack personality and are not fully fleshed out as they are so consumed with the processes of the initiative. The elderly characters are powerless, frail and accept their destiny without question or resistance. I have so many unanswered questions about the motives and backgrounds of the cast, which in retrospect leaves me feeling alienated from the film and its attempted message. The concept of state sanctioned killing has been richly explored in better movies such as Blade Runner and The Sea Inside, or TV shows such as The Handmaid’s Tale or The Leftovers. Overall, Plan 75 feels like a missed hit, and adds nothing original to the table on such an important moral topic.