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The Substance (2024)
An experience you won't forgety
Coralie Fargeat's The Substance is a jaw-dropping, audacious dive into the dark underbelly of beauty culture. The film follows Elisabeth Sparkle (Demi Moore), a fading celebrity who turns to a mysterious black-market drug that promises to create a younger, better version of herself. What unfolds is a grotesque, yet mesmerising journey that'll have you squirming in your seat and unable to look away.
From the get-go, Fargeat throws us into a world that's both familiar and nightmarishly distorted. The director's keen eye for satire is on full display, skewering society's obsession with youth and perfection with razor-sharp precision. It's a world where botox parties are as common as book clubs, and the pursuit of eternal beauty comes at a terrifying cost.
Moore's performance as Elisabeth is nothing short of revelatory. She brings a raw vulnerability to the role that's both heartbreaking and infuriating. You'll find yourself rooting for her one minute and wanting to shake some sense into her the next. It's a career-defining turn that showcases Moore's range and fearlessness as an actor.
The supporting cast is equally impressive, with Margaret Qualley delivering a deliciously unhinged performance as Sue, Elisabeth's younger doppelganger. Dennis Quaid rounds out the trio as Harvey, a sleazy TV executive who embodies every toxic male stereotype imaginable.
Visually, The Substance is a feast for the eyes-albeit one that might make you lose your appetite. Fargeat and cinematographer Benjamin Kracun have crafted a world that's simultaneously beautiful and repulsive. The use of colour is particularly striking, with sickly yellows and neon pinks creating an atmosphere of artificial glamour that feels like it could melt away at any moment.
The body horror elements are not for the faint of heart. Fargeat pulls no punches when it comes to depicting the grotesque transformations brought on by the titular substance. It's Cronenberg-esque in its unflinching approach, pushing the boundaries of what's acceptable on screen.
Where the film truly shines is in its exploration of themes surrounding ageing, self-worth, and the commodification of women's bodies. Fargeat doesn't just point out these issues; she takes a sledgehammer to them, forcing us to confront uncomfortable truths about our own complicity in these systems.
The pacing is relentless, rarely giving us a moment to catch our breath. This works in the film's favour for the most part, though there are moments where a bit more breathing room would have been welcome. The score, composed by Raffertie, is a pulsing, synth-heavy affair that perfectly complements the film's fever-dream aesthetic.
If there's one minor quibble, it's that the film occasionally teeters on the edge of being too on-the-nose with its messaging. However, given the subject matter, subtlety might be beside the point.
The Substance is a tour de force of filmmaking that demands to be seen. It's not an easy watch by any means, but it's one that'll stick with you long after you've left the theatre. Fargeat has crafted a modern horror masterpiece that's as thought-provoking as it is viscerally shocking. It's the kind of film that reminds us why we go to the movies in the first place-to be challenged, disturbed, and ultimately transformed. If you've got the stomach for it, The Substance is an experience you won't soon forget.
Kneecap (2024)
A biopic as raw and unfiltered as it gets
Kneecap is a semi-fictional biopic about the creation of the eponymous Irish-language rap group in Belfast. Set in post-Troubles Northern Ireland, the film follows three unlikely youngsters-a teacher and two street-smart troublemakers-as they form a controversial hip-hop group that challenges society standards and revitalises the Irish language.
Rich Peppiatt's directorial debut is a daring and exuberant trip that isn't afraid to ruffle some feathers. It combines the rebellious attitude of Trainspotting with the cultural pride of The Commitments, yet it falls short of both. The film's raw energy and unabashed attitude are its most powerful characteristics, capturing the essence of Kneecap's music and the harsh realism of Belfast's streets.
The decision to cast the actual band members as themselves is a two-edged sword. On one hand, it adds authenticity to the performances and musical sequences. However, their lack of acting experience occasionally shows, resulting in some stilted moments in the more serious scenes. Nonetheless, their inherent charisma and real camaraderie come through, more than compensating for any technical inadequacies.
Michael Fassbender's presence as Naoise's missing father lends seriousness to the proceedings, and he gives a strong performance that improves the sequences he appears in. The star, however, is Simone Kirby as Naoise's mother, who adds depth and emotional weight to her brief screen time.
Peppiatt's directing is ambitious, if uneven. He isn't hesitant to experiment with new visual approaches, including animation and stylised scenes that reflect the characters' hallucinatory experiences. While these decisions can feel gimmicky at times, they contribute to the film's overall anarchic spirit.
Ryan Kernaghan's cinematography is particularly impressive, portraying both the harsh urban environments and the frenzied intensity of the live performances with equal skill. The editing is quick and keeps the tempo going; however, it occasionally approaches sensory overload.
Thematically, Kneecap addresses some serious issues, ranging from the long-term impacts of the Troubles to the preservation of Irish culture, but it does not always go as far as it should in exploring these themes. The film's treatment of these issues can feel cursory at times, with broad strokes rather than detailed exploration.
The Irish language plays an important role in the film's identity, and it's great to see it portrayed as a real, breathing form of expression rather than a mere cultural artefact. The characters' flawless transitions between Irish and English give another depth of authenticity to the movie.
Where Kneecap truly shines is in its musical moments. The raw energy of the band's concerts is evident, and the film does a fantastic job of highlighting both their talent and the strength of their message. It is in these moments that you can truly understand why Kneecap has such a devoted following.
However, the film's irreverent tone and violent descriptions of drug usage may not appeal to all audiences. It strikes a delicate balance between honouring the band's rebellious attitude and glorifying its more dangerous behaviours, which may be off-putting to certain viewers.
In the end, Kneecap is a flawed yet immensely fun adventure. It has heart, humour, and a terrific soundtrack, even if it doesn't always reach the right note dramatically. It's a must-see for fans of the band and those interested in modern Irish culture. Don't anticipate a polished, by-the-numbers biopic; this is as raw and unfiltered as it gets.
Speak No Evil (2024)
Disturbing, brilliant, and thought-provoking
With a disturbing storyline and a brilliant ensemble led by James McAvoy, Speak No Evil is a remake that both honours and departs from its Danish precursor. The film depicts the Dalton family-Ben (Scoot McNairy), Louise (Mackenzie Davis), and their daughter Agnes (Alix West Lefler)-who, after migrating to the UK, go on an apparently perfect holiday to Tuscany. Here, they encounter the Fields, a vibrant British family led by the mysterious Paddy (McAvoy). What starts out as a friendly escape gradually turns into a tense and unsettling nightmare as the Daltons become entangled in a web of social awkwardness and mounting peril.
The film's cultural context is based on the examination of social standards and the often unstated bounds of civility. By contrasting American and British family dynamics, Speak No Evil explores the discomfort that emerges when civility conceals deeper intentions. This philosophical complexity is enhanced by a plot that deftly unfolds, showing the characters' vulnerabilities and moral quandaries as they navigate increasingly odd situations.
James Watkins' direction is superb; he captures the tension with deftness. He skilfully creates suspense, especially in sequences where Paddy's pleasant mask begins to crumble. McAvoy's portrayal of Paddy is brilliant; he alternates between friendly and sinister, creating a character who is both appealing and dangerous. His performance is memorable, displaying a range that keeps you wondering about his true nature. The supporting ensemble, particularly Davis and McNairy, give great performances, eloquently depicting their characters' growing fear and helplessness as they struggle with their decisions.
The film's score adds to the overall atmosphere, alternating between frightening tones and moments of laughter to break up the tension. The cinematography is key, with stunning settings standing out against the film's darker themes. The use of colour is especially striking; the warm hues of the Tuscan sun contrast with the frigid, sterile interiors of the Fields' home, creating a visual metaphor for the dichotomy of appeal and danger.
The editing is tight, with a quick pace that keeps you interested; however, some may claim that the second act drags slightly as character development takes precedence over action. While this choice adds depth, it can also cause impatience as you anticipate the ultimate conflict.
The dialogue throughout the film is crisp and frequently tinged with dark humour, expressing the protagonists' discomfort and the absurdity of their circumstances. This creative writing resonates, making the characters' struggle more relatable and their eventual demise more poignant.
While Speak No Evil departs from the original's grim nihilism, it provides a new perspective that mixes terror with moments of dark comedy. Some may find the ending less adventurous than the first, but it neatly wraps up character arcs and gives a satisfying, if unnerving, climax. The movie ultimately acts as a commentary on the hazards of social niceties and ignoring red signs, making it a thought-provoking viewing experience.
Bonnard, Pierre et Marthe (2023)
An emotionally moving portrait
Marthe de Méligny and the famous French painter Pierre Bonnard's complex relationship is explored in the biographical drama Bonnard, Pierre & Marthe. The story follows the creative and romantic relationship between the two over the course of fifty years, illuminating how Bonnard used Marthe as a model for many of his most lauded pieces. Set against the background of early 20th-century France, the story develops through pivotal points in their lives, capturing the spirit of their love.
Although the film strives for a more profound examination of love and art, it occasionally succumbs to the typical pitfalls of biopics, making the story feel less developed and more like a rundown of facts. While director Martin Provost deserves praise for skilfully tying together their lives' artistic and emotional threads, the pace, especially in the first act, can be tedious. The film's structure, with its four parts, gives us a look at their lives at different points, but it can feel disconnected at times.
The standout performances of the film are definitely Cécile de France's Marthe and Vincent Macaigne's Bonnard. Bonnard is portrayed by Macaigne as a kind soul torn between his creative aspirations and the intricacies of his relationship with Marthe; Macaigne gives him a relaxed, warm charm. However, the dynamic between Marthe and De France is riveting because De France personifies Marthe's ferocious and even aggressive personality. In scenes where Bonnard's work shows how Marthe's influence on him is apparent, demonstrating how his creativity is fuelled by their personal struggles, their chemistry is palpable.
Cinematographer Guillaume Schiffman does a masterful job capturing the intimate moments and verdant landscapes that make up Bonnard's universe. Its colour scheme is eye-catching and reminiscent of Bonnard's vivid paintings. Composer Michael Galasso's score adds a beautiful, wistful undercurrent to the images, heightening the narrative's emotional impact.
The film's pace is off, and it drags its feet when discussing its historical background, which detracts from the overall experience. The attempt to portray the social mores of that era is obvious, but there is frequently a chance to explore the characters' inner struggles that is not given enough attention. Even though there are touching moments, the dialogue isn't always natural and doesn't always raise the emotional stakes.
The personal, rather than merely the professional, aspects of Bonnard, Pierre & Marthe's subject matter set it apart from other artist biopics. Still, it falls short of the brilliance of films like Frida or Pollock, which do a better job of contrasting the artist's genius with the chaos of their life.
Bonnard, Pierre & Marthe is an emotionally moving portrait of a one-of-a-kind creative partnership and a gorgeously shot film overall. Art lovers and those interested in the complexities of love and creativity should watch it because, despite not fully escaping the conventions of its genre, it has strong performances and beautiful cinematography. Its artistic aspirations and narrative flaws are well-balanced. Watching this film is a must if you find yourself interested in how art and interpersonal relationships interact.
Thelma (2024)
A refreshing perspective on ageing that's also fun entertainment
We live in an ageing society, and there are many stereotypes of ageing people on our screens. Older people are often portrayed as declining cognitively and physically, resistant to change, becoming dependent and a burden to society, lacking productivity and value, being lonely and isolated, and disinterested in sex or romance. The list goes on and on.
In a refreshing turn, Jason Margolin, with his directorial debut, has given us Thelma, a fun comedy drama about 93-year-old Thelma Post, who has been the unwitting victim of a scam. Someone has impersonated her grandson, Danny, and she has lost $10,000. She decides to do something about it. Inspired by her love of action movies, particularly Mission: Impossible, she embarks on a high-spirited and dangerous journey across the city to find her money. On the way she demonstrates her resilience and independence, and the film explores themes of ageing, familial relationships, and the fight against societal perceptions of the elderly.
June Squibb, who plays Thelma, is outstanding. She gives us a character who is warm and humorous. And Richard Roundtree, who portrays Thelma's lifelong friend, Ben, engagingly complements Squibb's Thelma. Thelma's story is full of humour and heartfelt moments that make the movie entertaining and emotionally resonant.
In a movie like this, it would be easy to go too far with the comedy or the drama. But Margolin skilfully balances these two elements. There are also some clever nods to Mission: Impossible if you watch carefully. All of this combined with the themes of ageing, independence, and familial relationships makes this film thought-provoking as well as entertaining.
Unfortunately, some of the supporting cast don't really leave much of an impression and potentially undermine the depth of the story. Thelma is also a bit predictable at times, and occasionally it looks a bit like a low-budget movie, which can also detract from the experience.
But Thelma offers a refreshing perspective on ageing and independence, and its lighthearted yet sensitive approach to the realities of ageing makes it a worthwhile watch.
Blink Twice (2024)
A sinister dive into privilege and power dynamics
Zoë Kravitz's Blink Twice is a psychological thriller about a cocktail waitress named Frida (Naomi Ackie) whose life takes a sinister turn after the mysterious millionaire Slater King (Channing Tatum) invites her to a private tropical island for an extravagant party. The guests' malign intents expose a vicious underbelly of power dynamics and exploitation, rapidly turning what seemed like a lovely holiday into a nightmare. A sense of intrigue and mystery permeates the picture as it delves into topics like sexual abuse and the intricacies of privilege and riches.
The goal of Kravitz's ambitious directorial debut is to make a statement about current events, such as the #MeToo movement and society's corruption. Still, there are times when it seems like the movie tries to do too much. Although the story is interesting, the timing is off, especially in the beginning when the celebratory mood lasts for much too long before the real suspense begins. This film's gradual buildup could make you fidgety, but once it changes gears, it plunges into some terrifying areas that are hard to forget.
The performances stand out, particularly that of Ackie, who plays Frida with subtlety and bravery as the character faces the island's horrors. Tatum demonstrates his acting versatility by playing a villain instead of the hero, a part that is more typical of him. As the tale unfolds with progressively sinister turns, their chemistry gives complexity to the narrative. Alia Shawkat and Christian Slater are among the supporting actors who give strong performances, although not all of their roles are fully fleshed out.
Blink Twice looks amazing. The cinematography expertly portrays the island's natural splendour while contrasting it with the ominous events that transpire. The colour design is top-notch; the upbeat party scenes' vivid hues stand in stark contrast to the darker, more sombre ones that follow. Kravitz's direction is at its best during these scenes, which she masterfully crafts to keep the audience on the edge of their seats. Some shifts felt too sudden and threw off the film's flow, so maybe the editing could have been tighter.
The score is a nice fit for the film's mood; it heightens the tension without taking away from the story. Despite occasionally veering into cliché territory and reiterating sounds heard in other thrillers, it does a good job of building tension during crucial moments.
The island represents the pretence of paradise that masks more sinister realities; this is only one example of the many symbolic meanings included in Blink Twice. The film's blatant attack on affluence and privilege serves as a sobering reminder of the hidden costs of unregulated authority. The subtlety that would have enhanced the message is lost in the implementation, which can appear heavy-handed at times.
Although there are some problems with Blink Twice, it is nevertheless a fun and exciting film that deals with serious topics. The pace and character development are the main areas where the movie falls short, but the impressive graphics and stellar acting more than make up for it. If you enjoy psychological thrillers that delve into social critiques, you might enjoy this film as well. In any case, you should brace yourself for a painful but wild trip. Even if it falls short of its potential, this ambitious but imperfect picture managed to make an impression on me. Are you in the mood for something that questions the norm while providing nail-biting excitement? This one fits the bill.
Touch (2024)
A touching journey of love and loss
In the movie Touch, directed by Baltasar Kormákur, we follow the story of Kristófer, a man who has lost his wife, played by Egill Ólafsson. He sets out on a journey to reunite with his long-lost love, Miko, after more than five decades. The film unfolds against the backdrop of COVID-19 as Kristófer travels from Iceland to the United Kingdom and Japan, with glimpses of their past romance in 1969. This touching narrative not only delves into the complexities of love across different cultures but also explores themes of memory, loss and the passage of time.
Kormákur departs from his action-packed style to deliver this emotionally charged drama and collaborates on the script with Ólafur Jóhann Ólafsson, whose novel inspired the story. The film's storytelling technique of switching between past and present builds tension effectively; however, some viewers might find these shifts confusing. While Kristófer's emotional journey is deeply moving, the film falls short in addressing his dementia subplot, which is introduced but not explored further. This gap affects the authenticity of Kristófer's character development and leaves you questioning its authenticity.
The performances in Touch are undoubtedly a highlight. Ólafsson delivers a performance as the elderly character Kristófer, portraying a blend of vulnerability and determination. Pálmi Kormákur embodies the Kristófer with an air of idealism, while Kôki brings depth to her role as Miko. Their on-screen chemistry is evident in the flashback scenes that showcase their initial bond formed over food and shared moments in a Japanese eatery. The film's culinary aspects add a nice touch, reminiscent of other food-focused movies, though it falls short of reaching the calibre of classics like Babettes Feast.
Visually Touch is captivating thanks to its cinematography, which captures the allure of its various settings. The use of colour stands out, with tones invoking nostalgia in flashbacks and cooler hues reflecting the present sombre mood. Despite some abrupt time shifts, the editing ultimately heightens the emotional stakes surrounding Kristófer's journey.
The film's soundtrack beautifully complements its themes with a melodic score that enhances emotional moments without overshadowing the story. The dialogue flows naturally overall, though some instances may feel forced when trying to convey Kristófer's emotions.
Despite its imperfections, Touch strikes a chord emotionally for those who enjoy tales of enduring love across time and distance. The movie's examination of lost connections and the longing for reconnection will resonate with a broad audience, giving it a universal appeal. However, some viewers may feel unsatisfied by the elements of Kristófer's backstory and the handling of his dementia.
In essence, Touch is a film that highlights Kormákurs's skill as a director, although it doesn't entirely avoid the challenges of its ambitious storyline. I would recommend it to those who appreciate touching dramas that delve into the complexities of love and memory. While not flawless, its emotional depth and strong acting performances make it a worthwhile viewing experience.
Strange Darling (2023)
A twisted journey through madness and suspense
Strange Darling is a captivating horror thriller that keeps you guessing with its twists and turns, evoking a range of emotions and surprises that will keep you engaged. While primarily a psychological thriller, the film's intricate storytelling and deep character development make genre categorisation difficult. The narrative centres around an encounter that escalates into a series of nightmarish events, with each twist challenging your perceptions and expectations. Watching this film without prior knowledge enhances the viewing experience, as its unexpected plot developments rely on the element of surprise. To avoid spoilers, I'll keep this review vague. It's best to go in blind for impact.
The storyline of Stranger Darling expertly builds tension, drawing you in slowly before ramping up the suspense with unexpected and intense moments. The deliberate pacing may seem slow at times. But it effectively heightens the sense of anticipation throughout. As the plot unravels, it becomes evident that the director skilfully manipulates our expectations. You feel like you're heading one way only to suddenly find yourself in a very different, more unsettling reality. The mood is sombre and ominous, with subtle (and not so subtle) hints of something eerie lurking beneath the surface.
One of the standout features of Stranger Darling is its technical quality. The cinematography is captivating, using shadows and light to evoke a sense of unease. The colour scheme is subdued, punctuated by touches of red that suggest violence. The visual aesthetic perfectly complements the narrative, with each shot crafted to build suspense. Close-up shots during intense moments allow you to experience the characters fear and desperation on a visceral level.
The performances also shine in this film. While the cast may not feature A-list celebrities, they deliver portrayals that anchor the story's more surreal elements. The lead actor's depiction of a character teetering on the brink of madness is particularly striking. There's a rawness to their acting that renders the characters descent into insanity, both plausible and heart wrenching. The supporting cast also excels, infusing depth and nuance into their roles. Seemingly minor characters possess complexity that enriches the overall impact of the film.
The movie's music perfectly complements its atmosphere. The soundtrack is haunting, with jarring notes that keep you on edge. It's not the type of music you'll find yourself humming later. It greatly enhances the film's mood. The editing is precise, with cuts that contribute to the disorienting nature of the plot. At times, the editing becomes almost frantic, reflecting the characters inner struggles and intensifying the feeling of chaos.
Symbolism plays a role in Strange Darling, incorporating various recurring themes that enrich the storyline. The use of mirrors, for instance, is especially impactful in representing the characters' duality and blurring the line between reality and madness. The production design also deserves recognition for its slightly unsettling sets that contribute to an overall feeling of unease.
All that being said, there are aspects of the film that may not appeal to everyone based on individual preferences. While the pacing is generally effective, there are moments in the middle where it slows down, which could test some viewers patience. Additionally, there are instances where the plot feels overly complex, with twists that appear intended to shock rather than advance the narrative. However, these issues are minor concerns in an otherwise well-crafted and captivating movie.
Strange Darling bears some resemblance to psychological thrillers, yet it manages to establish its own unique identity within the genre. Viewers who enjoy films like Shutter Island or The Others will discover much to admire, while even those not typically inclined towards this genre might find themselves engrossed by the unexpected twists and intricate plot developments of Strange Darling. It's an experience that rewards patience and careful observation, leaving lasting impressions that linger in your thoughts well beyond the closing credits.
A suspenseful and evocative thriller, Strange Darling delivers more than enough to validate its position in the genre. Though not perfect, the film's strengths far outweigh its flaws, making it a must-see for thriller enthusiasts. Just remember-approach it with no prior knowledge for a truly exhilarating journey. With its performances, eerie visuals, and a storyline that keeps you on edge, this is a movie that will stay with you long after you exit the theatre. And a warning: Strange Darling definitely earns its MA15+ rating! So be prepared.
Alien: Romulus (2024)
Atmospheric and chilling
Yes! We have another addition to the Alien series of movies that started back in 1979. This is the fifth installment (unless you count Prometheus, which is contentious). It was initially going to release on the streaming service Hulu. But fortunately, it was changed to a cinema release.
In Alien: Romulus, a crew of explorers uncovers a dark secret onboard a derelict space station. Of course, if you've watched previous Alien movies, you'll know what that secret is and the way in which the crew will have to fight for their lives while trying to orient themselves to the station that they have never visited before. It's also worth noting that this episode is set between the original Alien movie and Aliens, the second movie.
Romulus has the same atmospheric and claustrophobic setting as other Alien movies. And there is lots of intense suspense, with the occasional jump scare that will have you levitating from your seat. The creatures are both visually stunning and scary. And there are strong performances from the cast. Cailee Spaeny is very good as Rain, and David Jonsson is brilliant as Andy, Rain's personal android robot. His subtle facial and body movements are convincing in persuading us that he is almost human, but not quite. And the special effects, which are often practical rather than CGI (although there is a bit of CGI here and there), are very effective.
There are a few issues: Some of the plot elements are predicable, and the director has relied heavily on familiar horror tropes. During the middle act, there are some pacing issues, and the character development of the characters could have been deeper.
Having said that, Romulus is a thrilling ride, particularly if you are a fan of the Alien franchise or if you are just a horror fan. While the movie doesn't break new ground, it does deliver on its promise of some intense scares and a chilling atmosphere. And there is plenty of graphic violence and disturbing imagery in this one, so I'd definitely recommend it only for mature audiences.
Bernadette (2023)
Witty satire with a captivating performance from Deneuve
What a delightfully wicked comedy drama The President's Wife is! Bernadette Chirac, the wife of the former French President Jacques Chirac, has for years been overshadowed by her politically astute husband. But she's had enough. It's time for her to carve her own path. While some controversial creative liberties are taken by the filmmakers (not everything is true to the facts), it does draw its inspiration from the real life of Bernadette, who was a prominent figure in French public life. As it does so, it explores some of the challenges faced by women in politics and how difficult and complex it is to balance personal life with one's public image.
Catherine Deneuve is captivating as Bernadette, and she embraces the character and beautifully manages the witty and satirical script. She reminded me of our iconic actresses like Judi Dench or Maggie Smith.
The exploration of gender roles and expectations is delightfully satirised. The photography is stylish and visually appealing, and the thought-provoking commentary on politics and media is incisive and, sometimes, laugh-out-loud funny. And the whimsical musical numbers add a lovely charm. It was a gentle joy to watch.
Some of the plot points felt a bit predictable. And the pacing was a bit uneven in some parts of the movie. And I think the film could have gone quite a bit deeper into the political implications of its themes. There are so many of these themes that are worth discussing: the complex nature of marriage and partnership; the pursuit of personal fulfilment and independence; the blurred lines between public and private life; and the corrosive effects of power and ambition. This is a movie that would be worth catching up with friends for a coffee afterwards for a chat.
The President's Wife is a highly entertaining and thought-provoking movie. I enjoyed it. If you are interested in politics, social commentary, and character-driven dramas, this one will be for you. The movie's sharp wit, combined with Deneuve's stellar performance, elevates this one above the average political satire.
It Ends with Us (2024)
A well-intentioned that explores important issues
With the rise of domestic violence to a crisis level in our society, it is great to see a movie on our screens that deals with this issue. It Ends With Us, which has been adapted from the Colleen Hoover novel, is a poignant drama that explores the complexities of love, trauma, and resilience. We follow Lily Bloom after she moves to Boston to start a new life in the florist business. She meets a charming neurosurgeon, Ryle Kincaid, and quickly becomes romantically involved. As their relationship develops, Lily must deal with reminders of her troubled past and the possibility that her new relationship will lead to toxic patterns in the future.
There are some strong performances in It Ends With Us. Blake Lively (The Age of Adeline and The Shadows), along with the rest of the cast, give us characters who are complex and emotionally charged. For me, Lively stands out and I particularly warmed to the character of Allysa, a friend and colleague who works with Lily in the florist shop, played by Jenny Slate. She brought some much-needed vitality and humour to the story.
I do think that there could have been more development of Ryle's background. Lily's complex portrayal of a survivor grappling with trust issues is very good, but Ryle's character arc feels somewhat underdeveloped. I think this is a shame given that there has been little focus in our society on the motivations and histories of males who perpetrate violence. It Ends With Us does, though, provide some insight into an event in Ryle's history, which I will let you discover if you watch the movie.
It Ends With Us tackles some very universal issues: love, loss, the search for identity, and, of course, domestic violence. The domestic violence issue is dealt with much more gently than it might have been, which may be okay given that there will probably be audience members who have, or are experiencing, domestic violence in their own lives. The cinematography visually reflects the emotional intensity of the story without being gratuitous in its portrayal of violence.
If you regularly watch romantic dramas, you may find that some of the plot elements are very familiar. At over two hours, the movie does feel a bit too long, and a tighter narrative focus would have created a more intense experience, in my view. The emotional intensity sometimes borders on excessive melodrama, which may alienate some viewers.
It Ends With Us is, in some ways, constrained by its rating, which recommends a lower-aged audience. But at least this allows for younger teens to be able to see a movie that is focused on an issue that is important for the age group in terms of their current and future relationships. It is a well-intentioned film that raises important issues, but its shortcomings prevent it from reaching its full potential. Nonetheless, it serves as a starting point for conversations about domestic violence and its devastating consequences. While It Ends With Us effectively addresses the pressing issue of domestic violence, its melodramatic tendencies and familiar plot hinder its potential to be a truly impactful film.
Trap (2024)
An adequate piece of entertainment without much depth
I quite enjoyed Trap, but while it has some tense moments, it is one of those thrillers that didn't go anywhere near the potential it could have. The story is about a father, Cooper (played by Josh Hartnett), and his daughter, Riley (Ariel Donoghue), who attend a big indoor concert. If you've seen the trailers, you'll know that Cooper is a serial killer who the police have been trying to catch for some time. His daughter has no knowledge of her dad's "other" existence. Soon after the concert is underway, Cooper discovers that it has been set up by law enforcement to catch him. What follows is a tense cat-and-mouse game as Cooper tries to hide his identity from Riley while the police close in.
There is no doubt that some parts of the movie are quite tense and suspenseful. But this is not always the case, with some parts dragging a bit. Hartnett provides a compelling performance as Cooper, and Donoghue, as the daughter, comes across as believable as she interacts with her dad.
There are some clever plot twists, but quite frequently, some of those twists rely on contrived circumstances or unbelievable good luck. And it's pretty predictable how it's going to turn out. In some ways, the last act is the best part of the film. I won't tell you anymore about that so I will avoid spoilers!
It's worth mentioning the concert, which provides the backdrop to the story and is present for the majority of the movie. It was an actual concert that was designed and performed especially for Trap. M Night Shyamalan's daughter, Saleka, plays the performer, Lady Raven. All the songs were written for the concert and sung by Saleka. I wasn't overly impressed by the music or singing at the concert. It seemed quite bland to me. Given the dark subject of the film, I thought the music needed to be more edgy and dark. But maybe the music reflects contemporary pop music. But given that the concert was so central to the film, I would have liked it to be more innovative and engaging.
There are some interesting questions raised by Trap about morality and how far people will go to protect their loved ones. There are also issues about paranoia and how trust in public spaces is eroded. And it's also worth thinking about the nature of evil and the blurred lines between victim and perpetrator. The problem is that the movie doesn't significantly explore these themes. In fact, Trap seems to remain at the level of entertainment and pretty much ignores exploring these themes altogether.
Trap is, at its best, a solid thriller that delivers an adequate amount of suspense and entertainment. It is definitely not groundbreaking and its predictable ending, uneven pacing, and relatively loose narrative make it a lot less than it could have been. If you'd be happy with a bit of a thrill, suspense, and an okay story, give it a go. Just don't expect anything profound.
Ezra (2023)
Sincerity and depth make this worth watching
It must be challenging to tell a fictional story about a boy with autism and make it authentic. Director Tony Goldwyn and writer Tony Spiridakis (who drew on his own experience as a parent of a child with autism) have done that with Ezra. Max (Bobby Cannavale) is a standup comedian who struggles to raise his autistic son, Ezra (William A. Fitzgerald). Max has very different views with his ex-wife, Jenna (Rose Byrne), on parenting Ezra. Additionally, Max and his father (played by Robert De Niro) have a tense relationship. And when Ezra is placed in a "special" school, Max illegally takes Ezra on a road trip on his way to an audition for a comedy gig. And, of course, a great deal of drama ensues.
The family dynamics, the challenge of parenting a child with autism, and the demands of personal growth are explored with sensitivity and compassion. Many people have praised Ezra as an accurate portrayal of autism. The performance by the young Fitzgerald in his acting debut is stunningly good. Cannavale and De Niro are also excellent in their roles. It's great to see De Niro in one of his best performances for some time. And Rose Byrne does a good job as Ezra's mother, although her character does seem to be underutilised.
Goldwyn's direction balances emotional depth with personal story telling, but sometimes, some of the plot seems to be a bit extraneous to the central story. And the narrative occasionally ventures into cliche. But, overall, it's a warm and heartfelt story that moves along at a good pace, although the final act of the film does feel a bit drawn out.
There have been other movies similar to Ezra, such as The Peanut Butter Falcon. But what makes this one stand out is its feeling of authenticity. If you're interested in family dramas, and particularly if you are interested in neurodiversity, you will find this a compelling watch. Despite some of its narrative flaws, its sincerity and depth make this one worth checking out.
Deadpool & Wolverine (2024)
An unlikely bromance
This review is about the 3D version, but you can catch the normal version everywhere.
Deadpool and Wolverine: an odd couple, if there ever was one. Deadpool & Wolverine throws the wise-cracking Merc with a Mouth and the brooding, clawed loner together for a wild ride. It's a mix of laughs, action, and surprising heart that mostly hits the mark.
Reynolds and Jackman have undeniable chemistry. Reynolds is in his element, firing off jokes like a machine gun. But it's Jackman who steals some scenes with a vulnerability we don't often see from Logan. Their very mature-rated banter is gold, and it carries the movie through some of its weaker moments.
The action is a rollercoaster. Some sequences are pure adrenaline, with the 3D adding a cool dimension. Others feel a bit too chaotic. But when you've got two guys who can cut through steel with their bare hands, you expect some explosions.
The humour is spot on. Deadpool's fourth-wall breaking antics are as sharp as ever, and the movie is packed with funny pop culture references. But it's the buddy comedy vibes between Deadpool and Wolverine that really shine. You can't help but laugh at their constant bickering.
It's not perfect, though. The story is pretty standard superhero fare, and there are a few slow parts. Plus, while 3D is cool and increases the feeling of immersion, in my opinion, it's not necessary to enjoy the movie. There's nothing game-changing about it.
Overall, Deadpool and Wolverine 3D is a fun popcorn flick. It's not high art, but it's entertaining. If you're a fan of these characters, you'll probably enjoy it. Just don't expect to leave the theatre pondering deep life questions. And remember, this one is definitely not for children.
Birdeater (2023)
An unflinching portrayal of uncomfortable truths
Birdeater throws Irene (Shabana Azeez) headfirst into a nightmare. What starts as a bucks weekend getaway for her fiancé Louie (Mackenzie Fearnley) and his mates quickly spirals into something far more sinister. The film cleverly avoids revealing its hand too early, building an atmosphere of dread laced with dark humour as the true intentions behind the trip become clear.
Birdeater courageously delves into the dark side of masculinity. The blokey camaraderie on display curdles into something toxic, fueled by excessive drinking, questionable decisions, and a pervasive sense of entitlement. The film reminded me a bit of Wake in Fright, another Australian classic that explores similar themes (there's an explicit reference to it in one scene if you watch carefully). But Birdeater injects a healthy dose of surrealism into the mix. Think of waking dreams and hallucinations that blur the lines between reality and psychosis.
The performances are solid, with Azeez holding her own as the increasingly isolated Irene. She believably conveys a growing sense of fear and confusion as the weekend unravels. The rest of the cast falls into familiar archetypes - the loudmouth larrikin, the nervous follower, and the quiet observer. While they're effective in creating an unsettling group dynamic, there's not a lot of room for nuance in their portrayals.
The real star of the film is the editing. It's sharp and frenetic, mirroring Irene's escalating anxiety. Fast cuts and jarring transitions create a sense of unease, leaving you perpetually on edge. The camerawork is similarly effective, often lingering on unsettling close-ups or lingering on empty spaces, adding to the overall sense of dread.
The film's greatest strength lies in its atmosphere. The Australian outback becomes a character in itself, vast and unforgiving. The use of colour is particularly interesting. The initial scenes are bathed in warm, golden hues, suggesting a sense of normalcy that quickly gives way to a cold, sterile palette as the weekend takes a dark turn.
However, Birdeater's plot takes a while to get going, and some of the dream sequences felt a little indulgent. The ending, while ambiguous, left me wanting a bit more resolution.
Overall, Birdeater is a compelling, albeit uneven, film. It's a slow burn that will stay with you long after the credits roll, thanks to its chilling portrayal of a toxic relationship and its exploration of the darker aspects of masculinity. If you're looking for something atmospheric and thought-provoking, Birdeater is worth a watch. But if you crave a clear-cut narrative and a satisfying resolution, you might want to steer clear. I walked away feeling unsettled but impressed by the film's visual style and its unflinching portrayal of uncomfortable truths.
Twisters (2024)
A visually stunning ride with a flimsy script
Twenty-eight years after the original tornado-chasing adventure, Twisters roars back onto the scene with a vengeance. This time around, we follow Kate Cooper (Daisy Edgar-Jones), a brilliant meteorologist haunted by a past twister encounter. Lured back to the storm-battered plains by her tech-whiz friend Javi (Anthony Ramos) to test a revolutionary tracking system, Kate finds herself face-to-face with the charismatic, social media-savvy storm chaser Tyler Owens (Glen Powell). As a monstrous storm system brews, both teams race to capture the ultimate data-and the biggest social media buzz-while outrunning nature's fury.
Director Lee Isaac Chung, known for his poignant character studies like Minari, takes a sharp turn into blockbuster territory here. While the film undeniably delivers on the spectacle front, the characters and plot feel like retreads of familiar disaster movie tropes. The banter between Kate and Tyler is peppered with cheesy one-liners and a forced will-they-won't-they romance that feels predictable from the get-go. You can't help but compare it to the original's Bill Paxton and Helen Hunt, whose bickering brilliance crackled with genuine chemistry.
However, Twisters redeems itself with its jaw-dropping visuals. The special effects are truly top-notch, conjuring up twisters that are both terrifyingly realistic and breathtakingly beautiful. The slow-motion close-ups of the swirling debris and the use of colour to depict the storm's intensity are particularly effective. The film also benefits from a pulse-pounding score that heightens the tension during the chase sequences. The editing is slick and fast-paced, keeping you on the edge of your seat, even if you can guess what's coming next.
Speaking of performances, Edgar-Jones struggles to fully inhabit Kate's role. While she conveys the character's intelligence, the emotional vulnerability that could have made Kate more relatable is missing. Powell, on the other hand, leans into Tyler's bravado with gusto, delivering a performance that's charming but lacks depth. The supporting cast, including the ever-reliable character actor David Corenswet as a rival storm chaser, is mostly wasted on underdeveloped roles.
Twisters is ultimately a popcorn flick, a movie designed to thrill rather than provoke. While the characters and story are forgettable, the film succeeds in delivering a visually stunning and exhilarating experience. If you're looking for a no-brainer thrill ride with mind-blowing special effects, Twisters will definitely satisfy that craving. Just don't expect to be swept away by anything deeper.
MaXXXine (2024)
A neon-soaked dream that fades a little too quickly
Ti West's foray into 1980s Hollywood with Maxxxine is a mixed bag. It bathes us in the lurid glow of a bygone era, complete with synth-heavy music and ruthless ambition, but struggles to deliver a satisfying narrative alongside the period flair.
Mia Goth, returning as the titular Maxine, is a captivating presence. She sheds the wide-eyed innocence of X for a steelier resolve, haunted by the events of the Texas farmhouse (if you don't know about these events, check out the first in the trilogy, X). The casting of seasoned actors like Giancarlo Esposito and a deliciously sleazy Kevin Bacon adds weight to the proceedings. However, the characters themselves feel underdeveloped. Maxine's internal struggles are hinted at but never fully explored, leaving her motivations a bit murky. The supporting cast, while colourful, often falls into familiar Hollywood tropes-the jaded director, the backstabbing agent-without much depth.
The plot, which hinges on a slasher picking off starlets and a potential connection to Maxine's past, feels like a retread of familiar territory. The suspense builds in the early reels, but the eventual reveal is underwhelming. The film is more interested in evoking the atmosphere of the era-all cocaine-fueled parties and ruthless studio heads-than in crafting a truly original story.
West's direction is stylish, drenched in neon lights, and evocative of films like Drive and Boogie Nights. The cinematography is solid, capturing the grit and glamour of 1980s Los Angeles. The score by Tyler Bates perfectly complements the visuals, with pulsating synth beats that heighten the tension. However, the editing feels choppy at times, disrupting the film's flow. The pacing is uneven, with some stretches dragging and others feeling rushed.
Maxxxine isn't without its merits. The film's exploration of ambition and the dark underbelly of Hollywood resonates. There are moments of genuine horror that will have you squirming in your seat. But overall, the film feels like a missed opportunity. It doesn't quite capture the lightning-in- a-bottle quality of X or the raw power of Pearl.
So, who should see Maxxxine? If you're a die-hard fan of the X trilogy and Mia Goth's performance, it's worth a watch for the nostalgia factor and Goth's captivating screen presence. But if you're looking for a fresh take on the slasher genre or a film that delves deeper into its characters, you might leave the cinema feeling a little letdown. Maxxxine is a stylish but ultimately shallow exploration of Hollywood's dark side, a neon-soaked dream that fades a little too quickly.
The Mountain (2024)
A climb well worth taking
Nestled beneath the watchful gaze of Mount Taranaki, a trio of unlikely friends embarks on a journey of self-discovery in Rachel House's heartwarming coming-of-age tale, The Mountain. Sam (a delightful Elizabeth Atkinson), a young girl grappling with her Maori heritage, finds solace in the company of the adventurous Maori boy, Bronco (an earnest Terrence Daniel), and the more cautious Mallory (Reuben Francis). Their escape into the wilderness becomes a quest for belonging, connection, and a deeper understanding of their place in the world.
House, a seasoned actress making her directorial debut, weaves a narrative that's rich in cultural context. The film beautifully portrays the deep respect Maori hold for their ancestral land, personifying Taranaki itself as a watchful guardian. This reverence for nature adds a layer of depth, making the mountain more than just a backdrop-it becomes a character in its own right. Thematically, The Mountain explores familiar territory: navigating family issues, forging friendships, and confronting personal fears. But the film's execution feels genuine, thanks in large part to the believable performances by its young cast. Atkinson shoulders the film admirably, capturing Sam's vulnerability and determination with a charming innocence. Daniel brings a spark of energy as the enthusiastic Bronco, while Francis provides a grounded counterpoint as the thoughtful Mallory. While the adult characters are somewhat underwritten, they provide a steady presence and emotional support for the central trio.
Visually, The Mountain stuns. Cinematographer Matt Henley captures the breathtaking beauty of New Zealand's landscapes, with sweeping vistas that inspire awe. The use of natural light and a muted colour palette further emphasises the film's connection to nature. The score, a blend of traditional Maori instruments and contemporary sounds, seamlessly complements the visuals, creating a sense of both serenity and adventure. The editing is clean and avoids unnecessary flourishes, allowing the story and characters to take centre stage. Pacing-wise, the film occasionally feels a tad slow, particularly in the first act. However, the investment in character development pays off, making the emotional payoffs in the later sections all the more rewarding.
The Mountain has a couple of shortcomings. The plot, while heartfelt, lacks the narrative complexity found in coming-of-age classics like Stand By Me. There are also moments of dialogue that feel a bit too on-the-nose, delivering emotional messages a tad too bluntly.
Despite these minor stumbles, The Mountain is a film that ultimately won me over with its sincerity and genuine charm. The message of embracing your heritage, finding strength in friendship, and respecting nature resonated deeply. This is a film best enjoyed with an open heart and a sense of wonder, perfect for a family movie night or a solo escape into the beauty of the natural world. With its stunning visuals, endearing performances, and heartfelt story, The Mountain may not reach the cinematic peak, but it's a climb that's well worth taking.
The Bikeriders (2023)
A decent watch but left me wanting more
The Bikeriders revs its engine on a wave of nostalgia, taking us back to the late 1960s and early 1970s as it chronicles the rise and fall of a biker club called the Vandals. The story is based on a book called the same name by Danny Lyon-a photographic diary he published that documented the lives of the Chicago Outlaws Motor Cycle Club as part of his immersion in motorcycle subculture in the 1960s.
The Vandals is a fictionalised club based on the Chicago Outlaws. Led by the charismatic Johnny (a gruff but soulful Tom Hardy) and the hot-headed Benny (Austin Butler, channelling a young Marlon Brando), the Vandals initially embody a sense of brotherhood and rebellion. We see them cruising dusty roads, tinkering with their bikes, and living a life outside the mainstream. The film is narrated by Kathy (Jodie Comer), Johnny's on-again, off-again girlfriend, whose wide-eyed innocence provides an interesting counterpoint to the rough-and-tumble world of the bikers.
Director Jeff Nichols captures the era with a loving eye for detail. The grainy film aesthetic (shot on 35mm anamorphic film), the carefully curated bluesy rock soundtrack, and the lived-in costumes all transport us back to a time of social upheaval. However, the historical context feels more like window dressing than a truly explored theme. The Vietnam War, a defining conflict of the era, is barely a whisper in the background. This missed opportunity weakens the film's emotional impact; a deeper exploration of how the war shaped these men could have added resonance.
The plot itself meanders a bit. The first half is more engaging, focusing on the camaraderie and internal dynamics of the Vandals. We see the cracks forming as new members arrive, bringing more reckless and violent energy. But the film loses steam when Austin Butler exits the picture part way through. The remaining Vandals become one-dimensional thugs, and the narrative loses its emotional core.
The saving grace of The Bikeriders is its cast. Hardy delivers a nuanced performance, capturing Johnny's gruff exterior and his surprising vulnerability. Comer is charming as Kathy, but the script doesn't give her enough depth, although her performance is remarkable. She had about 30 minutes of audio of the real character to learn the accent you hear from her in the film. And, from what I have heard, it sounds exactly like the original person. Butler's portrayal of Benny is all smouldering intensity, but it lacks the emotional complexity to be truly compelling.
The technical aspects are solid. The cinematography is evocative, with dusty landscapes and smoky bar interiors creating a lived-in atmosphere. The editing is efficient, but the pacing can be uneven, especially in the second half. The use of colour is interesting, with vibrant tones for the early, more innocent days of the Vandals giving way to darker tones later on, symbolising the darkening path they take.
The Bikeriders is a film with undeniable charm. It boasts strong performances, a captivating setting, and a touch of nostalgia. However, its meandering plot, underdeveloped themes, and lack of emotional depth prevent it from reaching full throttle. If you're looking for a visually stylish trip down memory lane, this might be your ride. It's a decent watch, but one that leaves you wanting more.
Un silence (2023)
Haunting and thought-provoking
Joachim Lafosse's A Silence is a slow-burning drama about a family where the unspoken hangs heavy in the air, threatening to suffocate its characters. We meet the Schaars-a wealthy couple, Astrid (Emmanuelle Devos) and François (Daniel Auteuil), living a seemingly idyllic life with their adopted son Raphaël (Matthieu Galloux). But cracks soon begin to show, hinting at a dark secret lurking beneath the surface. Lafosse masterfully ratchets up the tension, drip-feeding us information without ever resorting to melodrama.
The film feels distinctly European, its focus on domestic turmoil reminiscent of Michael Haneke's work. However, Lafosse injects a dose of emotional vulnerability missing from Haneke's clinical approach. We see the toll the silence takes on Astrid, her facade of composure crumbling as the truth threatens to unravel. Devos delivers a powerhouse performance, her eyes conveying a lifetime of unspoken pain. Auteuil portrays François with a quiet intensity, his character haunted by past choices. Even newcomer Galloux holds his own, capturing the confusion and anger of a teenager grappling with a fractured family.
While the acting is superb, the pacing can slow at times. Long, lingering shots showcase the opulent surroundings that feel increasingly like a gilded cage for the characters. The score is sparse, adding to the film's overall sense of unease. The muted color palette reflects the emotional state of the characters, with pops of color only highlighting their isolation. Lafosse utilizes silence to great effect, letting the characters' unspoken words speak volumes.
A Silence isn't an easy watch. It tackles complex themes of guilt, forgiveness, and the enduring power of the past. However, its raw portrayal of family dysfunction and the performances of its central trio make it a compelling, if uncomfortable, watch. If you're looking for a fast-paced thriller, look elsewhere. But for those who appreciate slow-burn dramas that linger long after watching the movie, A Silence is a haunting and thought-provoking film.
Divertimento (2022)
A well-made inspiring true story
Divertimento, a biopic chronicling the inspiring journey of Zahia Ziouani (played by Oulaya Amamra), is a heartwarming crowd-pleaser with a touch of underdog grit. Set against the backdrop of the working-class suburbs of Paris, the film follows Zahia's unwavering ambition to become a conductor in an industry dominated by tradition and privilege.
The film excels at capturing the social and cultural barriers Zahia faces. Early scenes depict her attending a prestigious music school, where she's met with snickers and condescension from both classmates and faculty. This isn't just about overcoming self-doubt; it's a battle against systemic biases. Director Marie-Castille Mention-Schaar doesn't shy away from these challenges, but thankfully, the tone remains optimistic. There's a "can-do" spirit woven into the narrative, reminiscent of classic sports movies where the underdog triumphs against all odds.
Amamra delivers a captivating performance as Zahia. Her portrayal is both passionate and nuanced, showcasing the character's determination alongside moments of vulnerability and frustration. We root for Zahia from the get-go, and Amamra makes us feel the sting of every rejection and the thrill of every victory. The supporting cast, particularly Lina El Arabi as Zahia's twin sister Fettouma, provides strong emotional grounding.
While Divertimento's heart is in the right place, the plot occasionally feels formulaic. Certain conflicts are resolved a little too easily, and the narrative takes a predictable turn in the second half. The historical context of the movie helps to somewhat lessen this predictability. Knowing this is a true story adds a layer of weight to the emotional core.
The technical aspects are solid. The music, of course, is a combination of traditional classics. A little more risk-taking in the selections would have been welcome. The cinematography is uncluttered, allowing the focus to remain on the characters and the music. However, the editing could have been tighter in some scenes, particularly during montages that feel a tad rushed.
Divertimento is a pleasant and uplifting watch. It's not going to win awards for originality, but it delivers a powerful message about defying expectations and pursuing your dreams. If you're looking for a feel-good movie with a strong central performance and a touch of social commentary, Divertimento is a well-made and inspiring story that will leave you with a smile.
A Quiet Place: Day One (2024)
Tense and suspenseful but not as good as the previous two
A Quiet Place: Day One throws us into the heart of the alien invasion that terrorised the Abbott family in the previous films. We follow Samira (Lupita Nyong'o), a New Yorker on a seemingly ordinary day, thrust into a world of chaos as the blind but sound-sensitive creatures descend. Paired with a young man named Eric (Joseph Quinn), they navigate the crumbling cityscape, desperately seeking refuge.
There's no denying the tension that A Quiet Place excels at. The constant threat of sound keeps you on the edge of your seat, and the film delivers some genuinely pulse-pounding moments. Remember that scene in the flooded subway station? Pure adrenaline rush. However, the story itself feels like a missed opportunity. The Day One in the title promises an origin story-a deep dive into the initial confusion and terror of the invasion. Instead, we find ourselves dropped into a narrative that assumes the audience (and the characters in the story!) already understands the creature's mechanics and the world's predicament.
The performances are solid. Nyong'o, as always, is captivating, conveying volumes through her expressive eyes and subtle gestures. Quinn holds his own, but the script doesn't give him much room to develop his character beyond being scared and resourceful. The real scene-stealer here is surprisingly feline; Frodo the cat provides some much-needed moments of (mostly silent) levity.
Visually, the film is impressive. The use of sound-or the lack thereof-is masterful. The bustling city reduced to a hushed ghost town is eerie and effective. The creatures themselves remain shrouded in mystery, adding to the fear factor. Where A Quiet Place: Day One falters is in its pacing. It feels rushed at times, skipping over moments that could have built a deeper emotional connection with the characters.
A Quiet Place: Day One is a decent popcorn flick, but it doesn't quite live up to the legacy of its predecessors. It lacks the emotional core and the sheer terror that made the originals so successful. Die-hard fans of the franchise might find some enjoyment in the world-building aspects, but overall, it feels like a slightly unnecessary detour in a well-established universe.
So, should you see it? If you're looking for a tense and suspenseful creature feature with a dash of sci-fi, then A Quiet Place: Day One might be worth your time. But if you're expecting a groundbreaking addition to the franchise, you might leave the theatre feeling a little... well, quiet.
The Convert (2023)
A beautiful and thought-provoking historical epic
The Convert, director Lee Tamahori's latest historical epic, takes us on a journey to 1830s New Zealand, a land simmering with tribal tensions on the precipice of British colonisation. We meet Munro (Guy Pearce), a disillusioned former soldier turned lay preacher who arrives at a fledgeling British settlement. When he's caught in the crossfire between warring Maori tribes, Munro's faith and identity are put to the ultimate test.
Tamahori doesn't shy away from the complexities of this period. The film beautifully portrays Maori culture, from intricate haka dances to the spiritual significance of moko (facial tattoos). There's a refreshing lack of subtitles for some te reo Maori dialogue, forcing us to immerse ourselves in the world and appreciate the characters' communication struggles. This commitment to authenticity extends to the production design, with meticulously crafted costumes and settlements that transport us back in time.
The Convert occasionally stumbles in its attempt to balance historical accuracy with crowd-pleasing action. The fight choreography, while intense, can veer into slightly unrealistic territory at times. Likewise, the film flirts with the "white saviour" trope in the first act, although Munro thankfully develops a more nuanced relationship with the Maori characters as the story unfolds.
The performances elevate the film. Pearce delivers a solid portrayal of a man grappling with his past and purpose. But it's Tioreore Ngatai-Melbourne as Rangimai, a fierce Maori warrior, who truly steals the show. Her performance is brimming with raw power and vulnerability, making Rangimai a character we can't help but root for. The supporting cast is equally strong, fleshing out the Maori community and the fledgeling British settlers.
The sweeping cinematography captures the breathtaking beauty of New Zealand's landscapes, with rolling hills and lush forests contrasting with the harsh realities of tribal warfare. The score is appropriately evocative, using traditional Maori instruments alongside a more modern orchestral sound. The editing is generally crisp, keeping the pace steady without sacrificing character development.
The Convert isn't a perfect film, but it's a compelling one. It's a visually stunning and thought-provoking exploration of cultural clash, faith, and the fight for survival. While the action sequences might not be the most grounded and the narrative occasionally flirts with clichés, the film's commitment to historical authenticity and the strength of its performances ultimately won me over. If you're looking for a historical epic that's both beautiful and thought-provoking, The Convert is definitely worth a watch. Just be prepared for a bumpy ride along the way, but one that ultimately leads to a rewarding destination.
Bastarden (2023)
A stunning historical drama with strong performances and a thought-provoking message
The Promised Land is not a typical historical drama. Sure, it's got 18th-century Denmark, war heroes, and ruthless aristocrats-the whole costume drama shebang. But beneath the powdered wigs and sweeping landscapes lies a story that's both intimate and epic, a character study woven into a tale of human resilience.
Mads Mikkelsen delivers a powerhouse performance as Captain Ludvig Kahlen, a haunted soldier tasked with cultivating a desolate, baron wasteland. It's a Sisyphean task, and the film doesn't shy away from the harsh realities of this unforgiving environment. The cinematography is stunning, capturing the bleak beauty of the Jutland moors in all their unforgiving glory. But there's a subtle shift as the story progresses. The initial coldness of the colour palette gives way to warmer hues as the first crops sprout, a testament to the stubborn hope that persists.
The plot itself is fairly straightforward-man versus nature, with a hefty dose of man versus man thrown in for good measure. The villain, Frederik de Schinkel (played with deliciously icy menace by Simon Bennebjerg), is a cruel landowner who sees Kahlen's success as a threat to his power. This good versus evil dichotomy could feel clichéd, but the film elevates it by exploring the complexities of Kahlen's own morality. He is a flawed hero who struggles with memories of his time in the war, and Mikkelsen expertly captures this internal conflict. There's a scene where Kahlen sits alone at a table, a single tear tracing a path down his cheek. It needs no dialogue; Mikkelsen's entire performance is a tapestry of unspoken emotions.
The supporting cast is equally strong. Amanda Collin brings a quiet strength to her role as a young woman who joins Kahlen's mission, and Kristine Kujath Thorp is captivating as a noblewoman caught between duty and desire. The dialogue is sparse but evocative, letting the actors use their silences to speak volumes. The pacing is deliberate at times, mirroring the slow, arduous process of taming the land. Some viewers might find this slow burn frustrating, but it allows the film to build a deep sense of place and character.
The Promised Land isn't without its shortcomings. The score, while atmospheric, can be a bit repetitive at times. And a few plot points feel a tad predictable, like echoes of classic Westerns transplanted to the Danish moors. Still, these are minor quibbles in an otherwise powerful film.
The Promised Land is a rewarding cinematic experience. It will leave you pondering the human capacity for both destruction and creation. If you're looking for a visually stunning historical drama with strong performances and a thought-provoking message, this one's definitely worth seeking out. Just be prepared for a slow burn, but trust me, the payoff is worth it.
Inside Out 2 (2024)
Navigates the labyrinth of adolescence with mixed results
Pixar's much-anticipated follow-up to the mind-bending original, Inside Out 2, dives back into the chaotic headquarters of Riley's emotions, this time as she tackles the turbulent terrain of adolescence.
The film tackles a relevant and relatable theme-the pressure to be perfect that plagues many teens. We see Anxiety slowly hijacking Riley's console, her need for control turning into a relentless pursuit of good grades, social status, and the approval of her impossibly cool classmate, Val. While the exploration of teenage anxiety is commendable, the plot itself feels a bit predictable. We've seen the "overachieving teen" trope before, and the resolution, while heartwarming, feels a touch formulaic.
Where Inside Out 2 shines is in its visual storytelling. The animation is, as expected from Pixar, stunning. The introduction of new "emotion landscapes," like the Sar-Chasm that fuels Riley's contemptuous side, and the jungle that represents her unconscious, are imaginative and visually dazzling. The use of colour is particularly effective, with Anxiety's world rendered in a sterile, monochromatic palette that beautifully reflects her controlling nature. The voice acting remains strong, with Poehler and Black perfectly capturing Joy and Anger's signature traits. Hawke, as the newcomer Anxiety, delivers a high-strung performance that's both comical and relatable.
However, some of the new characters, like Ennui, feel a bit underdeveloped. Their personalities aren't fleshed out as fully as the originals, leaving them as one-note additions to the emotional spectrum. The film's pacing also falters at times, particularly in the second act, where the focus on Riley's anxieties starts to feel repetitive.
Inside Out 2 is a film with good intentions. It tackles a complex issue with a fair amount of humour and heart. But it doesn't quite recapture the magic of the original. The predictable plot and underdeveloped new characters hold it back from greatness. Still, the beautiful animation, strong voice acting, and relatable themes make it a worthwhile watch, particularly for parents with teenagers navigating the emotional rollercoaster of adolescence.
So, is it a must-see? Not necessarily. But it's a decent popcorn flick with a message about the importance of embracing all of our emotions, even the messy ones. And hey, that's something we can all agree on, right?