Author name: Pronob Kumar

12.5.23 Films of 2023 ranked and reviewed (UK/Qatar release date) – https://boxd.it/kpU9E What an imaginative and smartly edited documentary this is. Still: A Michael J. Fox Movie showcases the actor’s life and struggles, particularly his battle with Parkinson’s disease, but doesn’t pity the man. Instead, it presents the argument that Fox is a man who never could afford, literally at some points, to just sit still. Using a blend of archival footage from Fox’s TV and film catalogue, as well as snippets from interviews, Still presents a restoration of his meteoric rise to fame. The additional restaged scenes from key points of his private life are used seamlessly to create an energised narrative, highlighting Fox’s resilience and determination in the face of adversity. There are also some great Guns & Roses and Beastie Boys needle drops, and the supplemental footage showing his physical fitness sessions and glimpses of a supportive nuclear family all work together to reveal how Fox’s experiences have shaped him as a person and an actor, and how he has continued to work and thrive despite his health challenges. It may lack eye-wobbling, powerhouse moments which some viewers may desire, and fans of Back to the Future and Teen Wolf may long for more nostalgia, but there’s plenty here for all audiences and it’s just so inspirational and effectively made. A solid, emotionally resonant documentary with replay value, and a delightfully casual watch. Available on Apple TV+

21.5.23 Sisu impresses with its mud-stained aesthetic, and satisfying Nazi kills, but the whole film feels rather hollow. It tries to emulate Mad Max: Fury Road, Kill Bill and the John Wick series in its wild chases, comic book stylings and ‘one-man army’ narrative, but as the film nears its conclusion, it comes across as a cheap imitation rather than something fresh and captivating. What impresses however is the film’s ownership of the frosty Finnish landscape, juxtaposed with the unflinching violence in the story. The action scenes are excellently shot and choreographed, making them wince-inducing yet thrilling to watch. The first kill, in particular, is jaw-droppingly good and prompted a ‘Holy shit!’ response from me. There are also some fine creative elements, such as the sense of humour and misfortune suggested whenever an SS soldier gets dispatched by our hero Aatami. The crunching sound design and fitting original score go far to immerse the audience in a world of brutality and blood-soaked gold.  Sisu’s narrative structure and storytelling techniques are simplistic but effective. It’s a classic tale of retribution, neatly organised into six chapters which makes the film feel well-paced. It also attempts to disclose the concept of Sisu (Finnish for resilience, I believe) but I never felt that it handles that element effectively. There is an attempt at a backstory for Aatami but it just feels like forced exposition rather than referring to an original or interesting character. In terms of problems, Sisu falls into the trap of predictability and lack of originality. The storyline adheres to familiar tropes and conventions found in many revenge films, failing to offer any significant surprises or unique perspectives, some funny kill scenes aside. The biggest issue is the weak dialogue, especially as the film nears its end. The script fails to deliver compelling and nuanced conversations, relying on clichés and uninspired exchanges instead. With better-written dialogue, the decent performances from the cast would have been elevated and made the film much more memorable. Sisu has got its work cut out trying to come across as a daringly violent action film when there are so many good ones due out this year. John Wick 4 seems to have set the bar really high and rightly so, but if you want something shorter and grubbier which delivers some of the same thrills, then Sisu is worth pursuing.

17.5.23 Films of 2023 ranked and reviewed (UK/Qatar release date) – https://boxd.it/kpU9E Despite being rather lightweight and guilty of underusing its veracious soundtrack, it’s nice to see a film which celebrates the vibrancy of South London without thinking of the crippling rents and divisive politics. Rye Lane takes the form of an imaginative but predictable rom-com that follows a chance encounter between the dual leads Yas and Dom. Here we see a portrait of the Black British community; socialising and squabbling, but at the same time unabashedly being themselves. There’s plenty of Wray & Nephew rum and Dunne’s jerk seasoning in sight to add to the authenticity of the film’s rich culture. I really like the chemistry between the pair as they get to know each other’s switches, especially as they wander the familiar streets of Peckham and Brixton. These areas are portrayed incredibly accurately, capturing the essence of the capital’s vibrant multiculturalism, as well as satisfying those looking for mapped consistency from street to street. Fans of Dragon’s Den UK and supermarket sauce aisles will spot the ‘Reggae Reggae’ icon, and there’s a great A-List appearance at the beautifully named ‘Love Guac’tually’ cafe. Rye Lane has proved significantly popular in the UK and will no doubt leave a positive impact on the area’s celebrated communal surroundings. The film’s themes of singlehood, loyalty and ‘just seeing where things go’ have obviously resonated with audiences, and in particular our youth culture. I know this because my students who usually just stick to what’s at the cinema or on Netflix asked me if I had seen this! It’s on me that I expected something rawer and with something more serious to say, but that shouldn’t detract anyone from seeking this out. It seems to get harder and harder being a young person experiencing the toxic world of social media, dating and heartbreak these days, and if this film acts as a beacon of hope to the real world Yas’ and Doms out there, well I’m all for that.

8.7.23 If your biological parents gave you up for adoption, why should you fulfil a single one of their wishes? If they refused to talk to you, how would you reconcile your feelings without becoming bitter or destructive? Would a part of you love them still even after they repeatedly failed you? I really enjoyed Return to Seoul because it made me seriously think about questions that I have no business asking myself. It’s a film of superb solo character development and the changing of ‘the self’ through time, with a unique contrast of French and Korean cultures oddly blending together beautifully. Without relying on an overbearing soundtrack or exposition, the film has a stark, realistic feeling that draws you into the discomfort and inhibitions of the lead character Freddie. Key scenes of her interacting with her complicated family members showcase the complexity of her inner turmoil. In her return to Seoul, Freddie grapples with pieces of her past and present colliding in awkward ways, selfish acts and self-destructive tendencies. The great character development shows her fears of offending her birth family while also being true to her adoptive French family. The nuanced portrayal of this inner conflict makes you empathise with her, even when she makes poor but understandable decisions. While at times the pacing of Return to Seoul feels slow, it fits the melancholic vibe of Freddie’s journey. She never seems fully comfortable or at peace with either side of herself, highlighted through scenes of her struggling to communicate in Korean. Her huge porcelain face often fills the screen to portray the sense that this girl is experiencing discomfort and awkwardness in Korea, which makes it entertaining on the occasions she chooses to react living without inhibition or fearing who she will offend. This plays on the stereotype that she is French liberal rather than conservative Korean. Mixing Vietnam with French seems natural, likewise Spanish and Filipino doesn’t seem at odds with perception, but Korean with French seems so alien and contrasting, and can be seen as a unique blending of cultures which makes the film distinctive in this sense. When the odd song comes, like during the karaoke bar scene, the music is pulsing and energising, matching Freddie’s turbulent mood. But as mentioned, the true strength of the film is her illuminating and vibrant character development through the different time jumps. Overall, Return to Seoul provides an introspective character study inside a sparse, grounded film that has stayed with me for days after seeing it. A serious recommendation for patient film watchers who prefer something slower and deeper, away from the loud but excellent franchise films of 2023 so far. Available on MUBI.

19.6.23 Renfield is a disposable film of cheap thrills, which is mostly enjoyable for its short runtime. The weak writing and mediocre story are far from memorable, but the violent deaths and flattering nods to Fight Club and Hot Fuzz keep things rolling.  As is often the case with average action and comedy films, at least it seems like the cast are having fun during production. Nicolas Cage, ever the committed performer, brings his trademark intensity and unpredictability to an eccentric but toxic incarnation of Dracula. Nicholas Hoult on the other hand gives a more reigned-in performance, although he gets lots of opportunities to kill off henchmen in a cartoon-like fashion. Awkwafina, although energised, doesn’t have great comedic material to work with, and many of her funny moments fall flat, as do her serious scenes with her sister and corrupt police colleagues. What lets Renfield down massively is its appallingly puerile soundtrack (Lizzo, Yungblud, My Chemical Romance) which fails to enhance any of the film’s key moments, and instead cheapens them. The painful romantic comedy scenes between Hoult and Awkwafina feel out of place and drain the film’s energy. The more and more I think about the film the less positive I feel about it! A relative disappointment from Chris McKay considering how much I love the hilariously riotous Lego Batman Movie.

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.