Author name: Pronob Kumar

22.1.24 May December is told with a level of equivocation that makes the entire film an uncomfortable watch. But despite that, it has moments of unique brilliance, such as its alluring score, constant moral questioning, and a sideswiping performance by Charles Melton. Like most of Todd Haynes’ work, it isn’t the sort of film I enjoy, but there is much to admire. Both darkly funny and profoundly sad, sometimes at the same time, May December feels like a movie only Haynes could have made. From seeing his past work, I’ve always felt he admirably focuses on vulnerable people and their digressions. Here the focus is similar, but it also adds a mystery surrounding Julianne Moore’s character Gracie, questioning if she was the leader or follower in an underage relationship and now odd marriage with Melton’s character Joe. The screenplay by Samy Burch and Alex Mechanik is very clever, weaving together different stories and genres with just the right amount of dialogue that doesn’t over-intrude into the families’ lives, leaving many spaces for audiences to make up their own minds. Some things don’t work, such as the texts from Joe’s phone appearing on the screen – a tired and overused device. However, I can see what they are trying to do with that creative choice, suggesting that Joe is still somehow stuck in a childlike state and that immature messaging would be something he would have done when he was 13. The score is very odd, but intentionally so, to create a sense of eeriness and unfamiliarity. What I liked most was not knowing who the good and bad people are, which can be narrowed down to an examination of the main three leads in a twisted ‘kind of’ love triangle in the most unconventional of cases. I’m also not generally a fan of Natalie Portman so her as the lead didn’t do much for me, although I would struggle to think of a better casting choice for a difficult, awkward role. Buoyed by some great scenes, most memorable with Joe and his son smoking on the roof, May December is a hazy psychological portrait of manipulation, inspired by a real-life sex scandal. Though Todd Haynes’ style doesn’t always appeal to my tastes, his daring and enticing style means that any new project he releases will command my attention.

3.1.24 Maestro has an excellent performance from Bradley Cooper and a great one from Carey Mulligan but the whole film simply feels like surface-level Oscar Bait. Hurrying through the life of celebrated American composer Leonard Bernstein, the film shows some of his growth, selected parts of his professional process, and softly approaches his sexual fluidity. As well as feeling quite lighthearted, all the cast apart from Cooper and Mulligan feel underutilised, especially Bernstein’s first male love interest David Oppenheim, played by Matt Bomer, and their daughter Jamie, played adeptly by Maya Hawke. There’s the distinct feeling that the film avoids tackling the thorns of Bernstein’s true, complex self, failing to do justice to the controversial real-life figures we see before us. Maestro does however shine in moments: the rapturous ovation he receives in his chance opening concert, arguments between Leonard and Felicia that reveal their passions and hangups, and Leonard’s later concerts displaying his masterful command of the orchestra. If only the film could maintain this level of insight and energy throughout. At over 2 hours long, Maestro still feels like it’s barely scratching the surface of a modern icon. It’s interesting but hardly satisfying, offering just an outline sketch of a great but troubled man, rather than a portrait.

18.9.23 Surprisingly affecting and boasting a pair of young stars with beautifully synchronised chemistry, Love at First Sight is a mildly diverting romantic drama that leans into melodramatic tropes whilst being firmly enjoyable. The film follows hopeless 20-year-old Hadley (Haley Lu Richardson) who meets a Yale math student (Ben Hardy) in a chance encounter on an overnight flight from New York to London. Despite their trivial differences in personality, they feel an instant connection and spend the flight conversing, laughing, and ultimately falling for each other. While the cute setup lends itself to clichés, director Vanessa Caswill brings a light touch, elegantly intimately capturing the simple confines of the cabin setting. Richardson and Hardy have an effortless rapport that buoys the film through some predictable turns in the second half. Despite a simple and formulaic plot journey, the film wrings emotion from the on-the-nose dialogue about choosing fate, and a wistful but generic indie pop soundtrack complements the fairylight-illuminated London atmosphere. A major draw of Love at First Sight for me was the talented Richardson, whose naturalistic acting style I’ve admired since her outstanding turn in the indie gem Columbus. Her roles in films like The Edge of Seventeen and After Yang similarly showcase her ability to occupy a character with understandable troubles and vulnerabilities. Plus, as a huge fan of seminal British comedies like Alan Partridge and Smack the Pony, it’s great to see British icon Sally Phillips try her hand at a more serious, heartwarming role here as Oliver’s mother. Overall, while far from groundbreaking, Love at First Sight offers a pleasantly escapist viewing experience, held aloft by the two leads. The romantic formula is tried and true, making this a harmless option for fans of the genre, even if it never quite soars. And yes, as others have said, I have no idea why they didn’t call the film Love at First Flight!

15.2.23 Living is a gentle but emotional British drama led by Bill Nighy’s poignant performance. It feels like a period piece, and displays London’s golden age in sepia tones, reflecting simpler times. Most of the film concerns the bureaucratic tedium of public office, but through the protagonist’s anguish, the mundane instead feels sophisticated and dutiful, reflecting the life of Nighy’s Mr Williams.  Perhaps it was the award-laden anticipation of the film, or that it is based on the classic Japanese film Ikiru (which I haven’t seen, but I imagine is more sombre and affecting than Living), but I felt quite disappointed leaving the cinema, and wanted something more powerful. Perhaps it didn’t resonate with me, and I should check out the source film so I may appreciate it more. Living is very charming and has a warm, life-affirming message, but it isn’t anything special.

29.10.23 Killers of the Flower Moon is not a masterpiece. And in the annals of history, I don’t think this will go down as one of Scorsese’s Top 10 films. But it’s still one of the most memorable films of 2023 so far. For all that impresses, and there is much that does, the film toils due to its episodic style and predictable plotting, which I’d argue is different than levelling it with the lazy criticism of simply being ‘overlong’.  7 years in the making and with a 200 million dollar budget, Martin Scorsese’s epic-in-scope Western details the unfathomable ‘slow massacre’ of the Osage Indians by duplicitous men attempting to ‘buy-in’ to the rich native families following the First World War. Reading that last line back to myself reminds me of my main criticism of the film; I truly think it would have worked better as a TV show helmed by its studio, Apple TV, rather than a storyline within the constraints of cinema, that I felt was pretty underwhelming. Based on David Grann’s sprawling book, Killers of the Flower Moon is impressively well made and the vast majority of the cast (aside from the over-the-top lawyer played by Brenden Fraser) give natural, believable performances that are just so fantastic to behold. Scorsese’s direction and screenplay, co-written with Eric Roth, chronicled this dark chapter of American history in elaborate detail. De Niro plays the villain well, albeit predictably, and Scorsese’s top boy DiCaprio acts his face off in gurning glory. But it’s Lily Gladstone who impresses the most with her stoic, undertowed performance. She’s the highlight of every scene she’s in, with her intense but reserved persona and occasional emotional releases dominating key moments of the film. But through DiCaprio, Burkhart’s actions strain believability. He is portrayed as a simpleton, easily manipulated by his uncle without being a convincing wrongdoer. The suspense is minimal as we see the murders unfold step-by-step rather than building anxious tension. This is another personal gripe of the film that for me holds it back from being Scorsese’s best, making it nothing like Goodfellas, The Departed or The Irishmen in terms of dramatic narrative. My overall feeling is that Scorsese seems unable to cut superfluous scenes that lead to unavoidable repetition. He can’t decide on a genre, trying to be a drama, mystery, political statement and love story all at once. While I recommend seeing Killers of the Flower Moon and respect the hard work and dedication to historical facts, it is ultimately a film to be admired rather than fully enjoyed. The strengths of Scorsese feel wasted despite the exemplary camerawork, lead performances and production values. A really good film but not the great one that we should have expected, and I am sure that will be the film’s legacy, although I’d love to see Gladstone pick up some awards and rightful recognition.

4.9.23 Joyride aims to be a hilarious buddy comedy with road trip elements, but unfortunately, the humour falls flat in too many scenes. This film pairs uptight Audrey (Ashley Park) with her relatively wild best friend (Sherry Cola) for an unpredictable adventure across China, showcasing some of the country’s natural beauty and unique culture. While both actresses give likeable performances, much of the gross-out slapstick and attempts to exploit Asian stereotypes come off as derivative and juvenile.  A few raunchy gags land, but overall the comedy lacks sophistication. Where Joyride succeeds is in its heartwarming central story about Audrey rediscovering her Chinese identity and heritage. As she journeys across her ancestral homeland, an uplifting tale of cross-cultural connection and self-discovery is the central part of the film that I quite enjoyed. Too often the story gets bogged down in silly antics and superficial humour. Stephanie Hsu has some funny moments, although it’s an awkward, over-sexualised performance, lacking the earnestness of her role in Everything Everywhere All At Once which was so impressive. The message about embracing your roots and openness to new friendships deserved better than much of the clumsy comedy on display, and the less said about Sabrina Wu trying to channel Alan from The Hangover films, the better. In the end, Joyride is well-intentioned but all over the place. For all its missed jokes, I appreciated the poignant exploration of cultural identity, although Return to Seoul did it ten times better, and I’m still looking forward to catching the rave-reviewed Past Lives sometime this month.

30.10.23 Remarkably provocative but with a questionable finale, Infinity Pool reflects the continued development of Brandon Cronenberg, similar to his father, in making films revolving around the destruction of the human self. Following a vacationing couple whose getaway takes a depraved turn into the bizarre and otherworldly, the film showcases a visually explorative story masquerading as one with deep meaning. Cronenberg pulls the viewer into a hypnotic world juxtaposing gorgeous resort luxury and sinister secrets. Alexander Skarsgård gives a positively exhausting performance as the morally ambiguous James, showcasing his acting range and subverting expectations by portraying a ‘beta male’ protagonist miles from the arrogant alpha Matsson he played in Succession. Mia Goth is fantastic as the unsettling Gabi, delivering a frightening yet flamboyant performance that builds on her work in Pearl. There is the sense that her performance is over-sexualised and many scenes are gratuitous, but it fits the journey of the disturbing narrative.  Fans of Brandon’s first feature, Possessor, will appreciate the film’s subversive moments. It attempts to satirise reckless hedonism and power dynamics between the social classes, but it does feel a bit strained in its message. The narrative thread that resonated with me the most surrounds Infinity Pool’s commentary on the ‘package holiday’ consumer culture and ignorance of the nation’s traditions and laws. Surprisingly, there are also some exceptionally funny moments which come out of nowhere and play on audience reactions. Not all of its themes hold weight, however, and I’m not particularly impressed with the ending, but there are plenty of ‘Cronenbergian’ themes to enjoy for those who enjoy morbid cinema.

8.12.23 How to Blow Up a Pipeline does a pretty good job, initially, at immersing viewers in its direct and divisive narrative on eco-terrorism. Like the book it was modelled on, it attempts to offer a call to action encouraging civil disobedience, justifying property damage as minor compared to the larger climate vandalism carried out by ‘Big Oil’ companies.  The film’s non-linear narrative structure is an interesting touch, unravelling the characters’ motivations for joining the coalition and taking down the pipeline. Each character’s personal stakes in the fight against environmental degradation adds respectable depth and the build-up to the final set piece is pretty intense and entertaining. However, while the film introduces compelling characters, they come across as somewhat juvenile and lack the character needed to make them truly impactful or significant. At least in intention through the film’s casting, the inclusion of both young Gen Z actors and familiar faces from the 2000s and 1990s, such as Jake Weary (It Follows, Animal Kingdom) and Irene Bedard (the voice actor for Disney’s Pocahontas) feels like a smart move. However, the acting overall doesn’t stand out, with the tension and the film’s message taking centre precedence over any single performance. Despite its flaws, How to Blow Up a Pipeline somewhat delivers a bold narrative that, while not serving as a convincing calling card for green radicalism, serves more like a pamphlet or advertisement for a larger discourse. I feel like it’s a film that wants to be taken seriously, but may have to settle as one that simply gets people’s attention in the very short term. It is unapologetic and honourably committed to its message, which makes it a noteworthy addition to the conversation surrounding the impending climate crisis.