The Help is one of the best female ensemble movies around. Viola Davis, Emma Stone, Octavia Spencer, Bryce Dallas Howard, Jessica Chastain are all engrossing, but it is Davis who is the beating heart of this film. Incredibly, she was beaten to the Oscar by Streep in The Iron Lady. Streep impersonates Thatcher well, but in a badly flawed film. Quite simply, Davis was robbed. Aibileen Clark is a black maid in 1960s Jackson, Mississippi who puts up with incredible abuse and racism then one day decides to tell her story. With every turn of her head, with every shifted gaze, Davis makes you feel this woman's torment. Her final words, "Ain't you tired?", carry an incredible emotional whump. The film is moving, entertaining, funny in places, and also horrifying in parts. It all comes together. See it for the value of the craft, but remember it for Davis's acting masterclass.
Reviews
159 Reviews
Happiness for Beginners
(2023)
a slog to get through
1 October 2023
Sometimes I am in the mood for mindless pap. I just want to watch a by-the-numbers rom-com that will give me a few laughs and not be too sentimental too much of the time. It doesn't have to be When Harry Met Sally, it just has to have heart and make me smile. Happiness for Beginners seemed to fit the bill. Oh how I was mistaken.
Why is cast design so bad these days in comedies? The two leads are affable enough, but they surround them with forced, one-note imbeciles that in no way resonate to real life. The woman who takes a vow of silence just made no sense. The dumb (or is she?) blond was annoying. There is a wannabe alpha male who becomes even more incredulous, bizarrely, when they try to show his insecurity. The trail leader has so little charisma he blends in with the trees. Apparently him saying 'Alright people' was deemed hilarious enough by the filmmakers that it merited a closing montage-homage all of its own. Dire stuff indeed.
Ellie Kemper and Luke Grimes can act and had some chemistry. Nico Santos could have been funny as Hugh, except they subbed him off half-way through the film. To paraphrase Hitchcock or one of these guys, three things let this film down: script, script and script.
Why is cast design so bad these days in comedies? The two leads are affable enough, but they surround them with forced, one-note imbeciles that in no way resonate to real life. The woman who takes a vow of silence just made no sense. The dumb (or is she?) blond was annoying. There is a wannabe alpha male who becomes even more incredulous, bizarrely, when they try to show his insecurity. The trail leader has so little charisma he blends in with the trees. Apparently him saying 'Alright people' was deemed hilarious enough by the filmmakers that it merited a closing montage-homage all of its own. Dire stuff indeed.
Ellie Kemper and Luke Grimes can act and had some chemistry. Nico Santos could have been funny as Hugh, except they subbed him off half-way through the film. To paraphrase Hitchcock or one of these guys, three things let this film down: script, script and script.
About My Father
(2023)
bland
1 October 2023
The first rule of comedy is you should make the audience laugh. Now that seems like a pretty obvious thing to say, but those responsible for this cringeworthy awfulness need to hear this. I imagine Sebastian Maniscalco had some personal investment in this story. Perhaps it is autobiographical. That would explain his storytelling-for-idiots incessant narration throughout this film. This is framed as an immigrant story, but is a love story between a second-generation Italian and a ninth(ish)-generation Englishwoman really the tale of immigration in 2023 America? A female lead who seems to be acting in her own film, an extended family of forced one-note stereotypes (whoever came up with the New Age brother should be banished), and yet another movie that forces us to look at De Niro and ask, 'What were you thinking?'
Scrapper
(2023)
Great lead performance but poor script
9 September 2023
Twelve-year-old Georgie lives by herself after her mother passes away, staying just ahead of social services and school with fairly implausible lies. When her biological Dad turns up out of the blue, her life shifts in a new direction.
Lola Campbell is a discovery and her performance alone makes the ticket price worthwhile. Unfortunately, too many other elements are sup-par. I get that it is a fairytale and that the film is attempting to show that working class life does not have to be miserable. But if we are re-inventing representation of the working class, why are they thieves? The Greek chorus of oafish social workers, snobby classmates, and three well-dressed dudes on bikes is cloying. The male teacher, especially, comes across as one-dimensional, with some unfunny comment about grief only taking a morning to get over. In fact, the treatment of grief in general does not convince. Georgie makes mention once of the five stages of grief, but never returns to this theme. Other elements seem tacked on for no narrative reason, such as the West Ham shirt, and Georgie's hearing aid. The one element that does work well is the magic realism notion of Georgie building a tower to Heaven, in a room she keeps locked for herself. Having said that, on-the-nose elements such as a big circle in the ceiling with BREAK written next to it are indicative of overall clumsy scripting. The comedy, too, is fairly flat. I think I smiled once. And the shaky-cam gets annoying.
Yes, it's heartwarming; yes, the father-daughter interaction has fleeting moments of real warmth. But I never really felt any genuine affection for this story, and never really invested in the characters. Too many elements, such as talking spiders, seemed contrived and manipulative.
I will enjoy following Lola Campbell's career. However, with regard to the claims that this film is somehow indicative of a renaissance in British filmmaking, that is nothing more than spin.
Lola Campbell is a discovery and her performance alone makes the ticket price worthwhile. Unfortunately, too many other elements are sup-par. I get that it is a fairytale and that the film is attempting to show that working class life does not have to be miserable. But if we are re-inventing representation of the working class, why are they thieves? The Greek chorus of oafish social workers, snobby classmates, and three well-dressed dudes on bikes is cloying. The male teacher, especially, comes across as one-dimensional, with some unfunny comment about grief only taking a morning to get over. In fact, the treatment of grief in general does not convince. Georgie makes mention once of the five stages of grief, but never returns to this theme. Other elements seem tacked on for no narrative reason, such as the West Ham shirt, and Georgie's hearing aid. The one element that does work well is the magic realism notion of Georgie building a tower to Heaven, in a room she keeps locked for herself. Having said that, on-the-nose elements such as a big circle in the ceiling with BREAK written next to it are indicative of overall clumsy scripting. The comedy, too, is fairly flat. I think I smiled once. And the shaky-cam gets annoying.
Yes, it's heartwarming; yes, the father-daughter interaction has fleeting moments of real warmth. But I never really felt any genuine affection for this story, and never really invested in the characters. Too many elements, such as talking spiders, seemed contrived and manipulative.
I will enjoy following Lola Campbell's career. However, with regard to the claims that this film is somehow indicative of a renaissance in British filmmaking, that is nothing more than spin.
Afire
(2023)
under-realized
4 September 2023
Leon and Felix, two young men with work to do, head to a family cottage to complete their tasks. But a beautiful interloper upsets their plans.
It's a familiar set up, given a memorable outing in Lynn Shelton's 'Your Sister's Sister.' The remote setting, the unexpected third wheel, sexual tension, secrets and lies - all the familiar elements are here. There is lots to admire about Afire, most notably the performances from Paul Beer as Nadja, Langston Uibel as Felix, Enno Trebs as Devid and Matthias Brandt as Helmut, a character who arrives late but has a very interesting narrative arc. Ultimately, however, the film fails to deliver a satisfying emotional climax. The tension between Leon and Nadja seems forced, resulting from some unpolished plot manoeuvres. Why does Nadja not reveal her literary background? How can she just 'turn up' in the bedroom with Leon? The main misfire, however, is the casting of Thomas Schubert as Leon. He just never convinces as tortured writer, a character type exemplified by Paul Giamatti in Sideways. It is a puzzling error, given that the other characters are so well cast.
The sound design also slightly annoys by making the buzzing of insects prominent. It is presumably done to put us 'inside' of Leon's discomfort, but it is merely irritating.
The ending felt like it was missing a layer. The turnaround in Leon's fortunes is a nice touch, but I expected to hear that his story was pure fiction inspired by the events, and that the tragedy he relays in his prose had not, in fact, taken place. But the script did not take that step, and that feels like a missed opportunity. Leon is more interested in rekindling a romance than grieving for a friend, and that made me dislike him.
There are many good elements here. Nadja is intriguing and likable, and the romance that blossoms between two characters was unexpected and surprising. The approaching fire is a nice literal and figurative touch. Afire is worth checking out, but it feels like is could have been so much more than it is.
It's a familiar set up, given a memorable outing in Lynn Shelton's 'Your Sister's Sister.' The remote setting, the unexpected third wheel, sexual tension, secrets and lies - all the familiar elements are here. There is lots to admire about Afire, most notably the performances from Paul Beer as Nadja, Langston Uibel as Felix, Enno Trebs as Devid and Matthias Brandt as Helmut, a character who arrives late but has a very interesting narrative arc. Ultimately, however, the film fails to deliver a satisfying emotional climax. The tension between Leon and Nadja seems forced, resulting from some unpolished plot manoeuvres. Why does Nadja not reveal her literary background? How can she just 'turn up' in the bedroom with Leon? The main misfire, however, is the casting of Thomas Schubert as Leon. He just never convinces as tortured writer, a character type exemplified by Paul Giamatti in Sideways. It is a puzzling error, given that the other characters are so well cast.
The sound design also slightly annoys by making the buzzing of insects prominent. It is presumably done to put us 'inside' of Leon's discomfort, but it is merely irritating.
The ending felt like it was missing a layer. The turnaround in Leon's fortunes is a nice touch, but I expected to hear that his story was pure fiction inspired by the events, and that the tragedy he relays in his prose had not, in fact, taken place. But the script did not take that step, and that feels like a missed opportunity. Leon is more interested in rekindling a romance than grieving for a friend, and that made me dislike him.
There are many good elements here. Nadja is intriguing and likable, and the romance that blossoms between two characters was unexpected and surprising. The approaching fire is a nice literal and figurative touch. Afire is worth checking out, but it feels like is could have been so much more than it is.
High Life
(2018)
esoteric nonsense
27 July 2023
A bunch of convict astronauts are subjected to experiments in a journey that is both prison and death sentence.
That description could equally apply to the audience of this film.
There is no narrative thread. Characters appear in one-note relief and seem to not know each other. A mad doctor type plays with sperm, masturbation and seduction. The main character looks after his daughter while talking about taboos, all the while showing that the main taboo seems to be changing your facial expression.
The Metacritic score of 78 is an example of what happens when verbose critics conspire to elevate a festival darling. Don't fall for their shenanigans. There is nothing of note to see here.
That description could equally apply to the audience of this film.
There is no narrative thread. Characters appear in one-note relief and seem to not know each other. A mad doctor type plays with sperm, masturbation and seduction. The main character looks after his daughter while talking about taboos, all the while showing that the main taboo seems to be changing your facial expression.
The Metacritic score of 78 is an example of what happens when verbose critics conspire to elevate a festival darling. Don't fall for their shenanigans. There is nothing of note to see here.
The Clan
(2015)
chilling
15 May 2023
A family patriarch keeps his wife and children in a cult-like grip, running a kidnapping and murder racket as a family business. The performance by Guillermo Francella will chill your blood. His ice-cold blue eyes perfectly convey the narcissistic sociopathy of the father. When is his son Alex, Peter Lanzani, finally confronts him, it leads to a climactic finish that will have you literally gasping. Those two elements alone make this film well worth checking. Out. The direction is unflinching in its portrayal of violence greed and amorality. The choice of an 80s hit-list for the soundtrack is a bold one, but for me it overcooks things somewhat. The music jars with rather than complements the on-screen action.
Breakdown
(I) (1997)
not a second wasted
8 May 2023
A man's wife goes missing on a cross-country car ride, and he finds himself caught up in a race against time and some very bad guys to find her. This is hugely satisfying genre fare, that sets out at a brisk pace from the offset and never lets up. Kurt Russell is excellent as the husband put through the wringer, always convincing as a man whose nerves are shot to pieces and who is physically tested to the limit. J. T. Walsh gives a masterclass in character acting. The scene where he urges his son to pull the trigger is the embodiment of pure evil. This is Duel meets Deliverance, and the filmmakers and cast concoct the perfect blend from those ingredients. The pace is admirable; there is not one wasted or flabby moment. Well worth watching.
Everybody Wants Some!!
(2016)
a waste of time
14 April 2023
Imagine going to a restaurant where the food looks fantastic, but is utterly tasteless. And then imagine that critics try to justify it by telling you this chef famously doesn't do 'flavor.' That's the best analogy I can come up with for why this boring film has a Metacritic score of 84. (Read the IMDb user reviews for a much more balanced, nuanced take on this film).
The 80s nostalgia may be spot on for some Americans. I was in uni in the UK in the 80s and it was Not. Like. This. The 80s music is under-utilized here, as is cinema and sport iconography. These would be the redeeming features you would look for in something so devoid of story. I like Richard Linklater, this is the only film of his I have not enjoyed to date, but if there is something here that I am not getting, then a quick survey of the critics hasn't revealed it to me. You can have nostalgia and story (American Graffiti), but Everybody Wants Some doesn't quite nail the former and disregards the latter.
In a word, dull.
The 80s nostalgia may be spot on for some Americans. I was in uni in the UK in the 80s and it was Not. Like. This. The 80s music is under-utilized here, as is cinema and sport iconography. These would be the redeeming features you would look for in something so devoid of story. I like Richard Linklater, this is the only film of his I have not enjoyed to date, but if there is something here that I am not getting, then a quick survey of the critics hasn't revealed it to me. You can have nostalgia and story (American Graffiti), but Everybody Wants Some doesn't quite nail the former and disregards the latter.
In a word, dull.
Last Night in Soho
(2021)
Horror?
6 April 2023
Edgar Wright tests his genre credentials by taking on straight-laced (relatively) comedy-free horror, and comes up short.
There is a young protagonist with visions of the supernatural (The Shining; Sixth Sense), a sinister house (Psycho), and other stock horror elements such as the double wake-up. But this feels more like Wright test-driving being a horror director, than a full-throttle authentic outing. Too many elements do not work. For one, the 'dead men' are never really scary. Two, the sympathetic friend - like most other minor characters - is very one-note. The big 'reveal' is pretty much telegraphed early on. Most egregious of all is the Terence Stamp character. Once we are told his background, nothing he said or did up to that point makes any sense. Why would that character behave in that way? And say those things?
Wright is an outstanding filmmaker, but if this was him testing his limits, I hope he sees them and goes back to what he is good at. The real horror aficionados will not forgive this.
There is a young protagonist with visions of the supernatural (The Shining; Sixth Sense), a sinister house (Psycho), and other stock horror elements such as the double wake-up. But this feels more like Wright test-driving being a horror director, than a full-throttle authentic outing. Too many elements do not work. For one, the 'dead men' are never really scary. Two, the sympathetic friend - like most other minor characters - is very one-note. The big 'reveal' is pretty much telegraphed early on. Most egregious of all is the Terence Stamp character. Once we are told his background, nothing he said or did up to that point makes any sense. Why would that character behave in that way? And say those things?
Wright is an outstanding filmmaker, but if this was him testing his limits, I hope he sees them and goes back to what he is good at. The real horror aficionados will not forgive this.
Big Night
(1996)
The Emperor's new clothes...
6 April 2023
Critics seem to love this film and so do a few cinephiles I've met. The only way I can account for the high Metacritic score is that some actors are so beloved that they cannot be seen to put a foot wrong.
Stanley Tucci is one of them.
Where to begin? The two brothers came over on the boat with each other, but speak English to each other. That's fine - we are going with that suspension of disbelief conceit. But then later, one brother speaks actual Italian with another character. Where is the linguistic consistency in this story world? Either Italians speak Italian with each other, or they do not - you can't have it both ways!
The camera swings about wildly at times, the tell-tale sign of an untalented film school student devoid of ideas. At one point Ian Holm and Tucci speak through a desk lamp, their faces blocked by the object... Why? The women are granted no agency. Rossellini and Driver have one dialogue scene together - and they talk about men. A fatally mis-cast Ian Holm goes big to a cringe-worthy degree. I mean, dear God, he bites people's bums! Driver takes to the ocean, for no plausible reason, except to offer a male gaze on her emerging on the shore in her wet underwear. There is a slow-mo shot of a chef's apron on fire that does nothing to advance the story; it simply says: "Look, slo-mo."
An omelette is made in real time at the end. In a scene that has no dialogue. That was nice. But, you know, too little too late.
Some banks are apparently too big too fail. On the evidence of the reviews for Big Night, some filmmakers are too.
Trite, boring, amateurish.
Stanley Tucci is one of them.
Where to begin? The two brothers came over on the boat with each other, but speak English to each other. That's fine - we are going with that suspension of disbelief conceit. But then later, one brother speaks actual Italian with another character. Where is the linguistic consistency in this story world? Either Italians speak Italian with each other, or they do not - you can't have it both ways!
The camera swings about wildly at times, the tell-tale sign of an untalented film school student devoid of ideas. At one point Ian Holm and Tucci speak through a desk lamp, their faces blocked by the object... Why? The women are granted no agency. Rossellini and Driver have one dialogue scene together - and they talk about men. A fatally mis-cast Ian Holm goes big to a cringe-worthy degree. I mean, dear God, he bites people's bums! Driver takes to the ocean, for no plausible reason, except to offer a male gaze on her emerging on the shore in her wet underwear. There is a slow-mo shot of a chef's apron on fire that does nothing to advance the story; it simply says: "Look, slo-mo."
An omelette is made in real time at the end. In a scene that has no dialogue. That was nice. But, you know, too little too late.
Some banks are apparently too big too fail. On the evidence of the reviews for Big Night, some filmmakers are too.
Trite, boring, amateurish.
Ticket to Paradise
(2022)
tired
29 March 2023
You have to imagine Clooney and Roberts, two people who are good pals in real life, read this script and saw the chance to have a holiday in an exotic location with a buddy, all the while being paid for it. Even when they aren't really trying both are very charismatic, and they aren't really trying here, unfortunately. The film has a promising start, as the bickering between the divorcees is top-notch screwball comedy fare. But once we get to Bali and they unite forces, it all turns dull and formulaic. The young lovers never really seem real and so never appear genuinely under threat, and the attempts to introduce Balinese life and culture is saccharine sweet.
In short, meh.
In short, meh.
The Son
(I) (2022)
Disturbing and profound
29 March 2023
The Son is every parent's nightmare. Reminiscent of Birth in the way the uncanny permeates every frame and implants a creeping sense of foreboding under your skin. Vanessa Kirby as Beth is the most relatable character, as she seems as confused by Nicholas as the audience. Hugh Jackman nails it as the father trying to do the right thing and slowly realising that there are some things that are just beyond our control. Zen McGrath is naturalistic as Nicholas, allowing the actions to speak for themselves and calibrating perfectly a performance it would be easy to over-egg. There is something stagey about the production, a nod to the play origins, and done deliberately one feels, as it adds to the sense of unreal events overtaking characters. My favourite moment was when the parents leave the hospital having made one decision, only for the next cut to show they reversed it. A harrowing film that will hopefully start important conversations for some people.
Funny Pages
(2022)
Frustrating
29 March 2023
Funny Pages is one of those films that I find myself reading critics and reviewers afterwards to find out what I missed. "What is the point?" seems to be a comment that comes up a lot. The comedy is great at times, and the sudden tone shifts to something quite dark are unsettling. The cast design is refreshingly quirky, and Matthew Maher as
Wallace Shearer is a truly outstanding performance. But the feeling I came away with is that I had been privy to an extended insider's joke and I was very much an outsider. There is no coming-of-age here, and no subversion of that genre either, or any other genre. So all in all, a bit of a let down.
Bullet Train
(2022)
Good fun
29 March 2023
Bullet Train is a fun, over-the-top, fairground ride of a film that is smart, funny and cool. Or it is a bloated, dated, cynical action flick with a formulaic story and one-dimensional characters. I get both sides of the argument, but favor the former, and that is simply because I think the film matched my mood that day. Pitt is an outstanding actor who never gives less than 100 percent, and I think his comic timing and sense of vulnerability here is spot on. Does the script try to be too self-aware at times? Yes. Is the Japan setting under-used? Yes. But the bottom line is, if you are in the mood for kicking back, popcorn, laughs and entertainment, Bullet Train is right up your street. I enjoyed it.
God's Creatures
(2022)
Flawed
28 March 2023
God's Creatures has an atmospheric setting and a great cast. But one huge flaw in the script fatally holes this ship below the waterline.
Brian returns from an extended sojourn to Australia and his mother Aileen is overjoyed. In fact, she is so happy that she fails to consider why her prodigal son was considered prodigal in the first place. In the scene where Brian appears, it is pointed out that he made no contact while in Australia, and no one even knew what city or town he was in.
Now, that is fine for that scene, but the question of what Brian did during his time in Australia is never re-visited. He meets old schoolmates, a bartender who is enamoured with him, but absolutely no one broaches the topic of Australia. This bizarre omission undermines all the work done to create an authentic sense of place and people. And it would be an easy fix, by, for example, having Brian tell contradictory versions to two people.
Whether it was not discussed in script development, or written but not shot, or shot but left out of the final cut, I do not know. But that egregious misfire in the creative process ruins what could have been an immersive, enjoyable cinema outing.
Brian returns from an extended sojourn to Australia and his mother Aileen is overjoyed. In fact, she is so happy that she fails to consider why her prodigal son was considered prodigal in the first place. In the scene where Brian appears, it is pointed out that he made no contact while in Australia, and no one even knew what city or town he was in.
Now, that is fine for that scene, but the question of what Brian did during his time in Australia is never re-visited. He meets old schoolmates, a bartender who is enamoured with him, but absolutely no one broaches the topic of Australia. This bizarre omission undermines all the work done to create an authentic sense of place and people. And it would be an easy fix, by, for example, having Brian tell contradictory versions to two people.
Whether it was not discussed in script development, or written but not shot, or shot but left out of the final cut, I do not know. But that egregious misfire in the creative process ruins what could have been an immersive, enjoyable cinema outing.
Sing Street
(2016)
Feel-good film
28 March 2023
Hints of Gregory's Girl and The Commitments in a film that ramps up the nostalgia for those of a certain generation, as the production design evokes many iconic images and sounds of the 80s. Puberty, music, first love, school bullies, friendship, brutal priests, self-absorbed parents - all the ingredients mesh well to create a feel-good film with bittersweet moments. The young cast do outstanding work, and the soundtrack keeps your feet tapping all the way through. The highs could be higher and the lows more authentic, but the film is a good if not great execution of the image-music combination that has worked so well in the past, particularly for this director.
Embrace of the Serpent
(2015)
Important cinema
28 March 2023
Karamakate, the last survivor of an Amazon tribe, guides one Westerner through the jungle, and then decades later, another. The film is visually stunning, though the choice to opt for black and white is not totally convincing. The onerous pacing means the film drags at times, and the two-hour runtime is excessive. One gets the feeling that this is 'important' cinema, without being completely immersed in the experience. However, above all else, this is a corrosive indictment of colonialism and well-intentioned but misguided Western intellectuals, and a glimpse of the languages, knowledge and peoples we have lost for all time. A film that deserves to be seen and discussed.
Mother/Android
(2021)
Terminator lite
9 January 2022
Warning: Spoilers
Mother/Android is openly derivative, but fails to deliver the heft of the shoulders it stands on. The film shines in episodes, such as the race through the forest, and most of all the acting prowess of Chloë Grace Moretz. Sadly, however, too many clunky moments sink the film. We are at war with a vicious enemy, yet when the male protagonist proves himself tasty in hand-to-hand combat round the campfire, the officer in charge kicks him out instead of recruiting him. The officer also claims to be saving humanity, while in the same breath expelling a pregnant woman. This could be fun in an ironic way if the dramatization wasn't so po-faced about it all. This points to an overall lack of cohesion. Why are the Koreans and Chinese exempt from android attack? At the very least, can't the androids hack their computers? Why do the Koreans - who one assumes are re-grouping like the Allies did after Dunkirk - only accept babies? This is a bizarre moment parachuted in to offer up a twist in the tale. Or is this shoe-in social commentary on past adoption of Korean babies? And where are the other Asian nations, in fact all other nations? This film is a genre box-ticking exercise, that misses a good few boxes.
Cold War
(2018)
star-crossed lovers
18 October 2021
In post-war Poland, a man and woman become lovers and carry out an all-consuming affair over the subsequent decades, against a backdrop of Cold War Europe. Cold War is less about story than atmosphere. The love affair is episodic, the man and woman colliding, entwining and repelling each other with years in between elided, only grasped by a comment made or an inter-title shown. For the couple, the passing years are unremarked, as when they see each other, all that matters is their undiminished passion. The composition is exquisite, painterly frames in Academy ratio take your breath away. The music comments on the affair, and on the relentless progression of the 20th century. This is robust, confident filmmaking, to be enjoyed intellectually and sensually.
Mustang
(2015)
patriarchy and resistance
6 October 2021
Five orphan schoolgirls stop off at the beach on the way home, and enjoy playing with boys in the sand and surf. When a neighbor spots them and reports it to their guardians, the girls find themselves confined to home. What's worse, marriages are arranged and the girls sent off one by one, in one last desperate attempt to 'tame' them. The impish curiosity and restless energy of the girls, especially Lale, is a joy to watch. They argue vehemently, love passionately and brim with curiosity. Slowly, the patriarchy tightens its grip on them, and their senses are dulled, if not completely extinguished. The film avoids finger-wagging, and instead allows us to imagine the ever-diminishing opportunities the future holds for these girls. The adult women around them, already co-opted into the patriarchy, show the path the women are on. There are flashes of defiance, as seen in a deliberately provoked power cut, but all the spark and joy in the girls is absent in the women. The men have all the power, whether imposing rules or erecting physical cages, or offering lifts and hope of escape in trucks. The oppression is all around but at times only implied rather than starkly portrayed, and so all the more ominous for it. A triumph of ensemble filmmaking, Mustang is a worthy moment of resistance.
Dheepan
(2015)
Innocence lost, and lost again
6 October 2021
Warning: Spoilers
Three strangers, a man, woman and child, fleeing war and grief in Sri Lanka, are thrown together and find themselves in the deprived suburbs of Paris. It quickly becomes clear that their hopes of escaping war and violence may not come to fruition, they may simply have jumped out of the frying pan into the fire. The intrigue of the set up and the naturalistic performances are the main attraction of this film. Jesuthasan Antonythasan plays the lead with admirable complexity. Dheepan spends more time trying to hide his emotions than show them. The chaos and brutality of their new environment is starkly portrayed, a parallel universe largely unseen by Paris tourists. The final act of the film is less a turning point and more of a genre shift, as social commentary and human drama gives way to something more akin to Liam Neeson in Taken, with shades of John Rambo. Dheepan goes on a super-soldier rampage through the neighborhood. This sudden break in narrative fidelity is jarring, and won't go over with large parts of the audience. Nonetheless, Dheepan offers many rewards and will have you talking long after it finishes.
The Way Way Back
(2013)
Uplifting
23 August 2021
Fourteen-year-old Duncan has to spend summer at the beach house of Trent, the surly new boyfriend of his mother. With Trent's daughter treating his like trash stuck to her shoe, and a boozy neighbor trying to have him babysit her 10-year-old son, Duncan finds an escape in the local water park. Manager Owen befriends Duncan and mentors him through some teenage rites of passage.
These are familiar themes and storylines, but it is all done with such charm and humanity that the film wins you over. The opening scene, with Trent verbally bullying Duncan, sets the tone for Duncan's suffering. Duncan's journey from awkward, silent pubescent to angry young man ready to go toe-to-toe with Trent hits all the right emotional notes. The jokes are funny, the heart-warming bits avoid sentimentality, and Sam Rockwell, Toni Collette and Steve Carrell all put in exemplary performances. It doesn't all work - there is a slightly clunky dance sequence where Duncan "earns" the nickname pop-n-lock. But most of it works, and works well. I laughed, I cried, which is just what I want from a film like this. It's a feel-good film that I find myself going back to in successive summers.
These are familiar themes and storylines, but it is all done with such charm and humanity that the film wins you over. The opening scene, with Trent verbally bullying Duncan, sets the tone for Duncan's suffering. Duncan's journey from awkward, silent pubescent to angry young man ready to go toe-to-toe with Trent hits all the right emotional notes. The jokes are funny, the heart-warming bits avoid sentimentality, and Sam Rockwell, Toni Collette and Steve Carrell all put in exemplary performances. It doesn't all work - there is a slightly clunky dance sequence where Duncan "earns" the nickname pop-n-lock. But most of it works, and works well. I laughed, I cried, which is just what I want from a film like this. It's a feel-good film that I find myself going back to in successive summers.
The Age of Adaline
(2015)
thought-provoking, unfortunately
23 August 2021
Warning: Spoilers
I had one thought after watching this film: What did Harrison Ford see in this script? You have to imagine the man has his pick of projects, and by now he has a few red flags that tell him to run a mile. The film relies on long-winded exposition about some made-up science to convince us this woman first defies the aging process, then is re-integrated into it. I mean, did they think we wouldn't buy the premise as is? Worse than the plodding exposition is the lazy use of coincidence. This woman spends her life moving all over but somehow manages to end up in bed with the son of her one true love? And she manages to miss the most brightly lit car on the road when turning round, to get in a second car crash that, coincidentally, happens when exactly all the right climactic conditions to 'cure' her are in alignment? No one flagged this incredulity in pre-production? Having been in one road accident, you would imagine she would be ultra-cautious, not u-turning on a dark road with blithe disregard. Harrison Ford is what made me watch this film, so I blame him. Decent enough acting, some nice photography, and a story that is downright insulting.
Sweet Country
(2017)
visually impressive but lacks narrative focus
22 April 2021
A white settler, back from WWI and mentally disturbed, arrives in town and immediately unleashes his wrath on the indigenous help. One indigenous man stands up to him, and ends up shooting him dead in self-defence. He goes on the run, and a posse is formed to track him down. But the harsh landscape proves as unforgiving of their search as they are of black men standing up them.
This is a movie "inspired" by true events that relates a tale that could have been gripping. However, the story fails to anchor itself to any one character's point-of-view, and so the audience is set emotionally adrift. The indigenous man, Sam, on the run with his wife, would seem most likely to guide us through the story, but his thoughts and fears remain largely distanced and impenetrable. As for the white men, the sergeant has a romance storyline, and some kind of redemptive arc, though that particular transformation seems implausible. It hinges on us believing a fanatical racist is redeemed by hearing that the murder victim raped the accused's wife. It is hard to believe that a veteran lawman in such a town would be driven to life-changing action by this news.
Another character, the good Christian, book-ends the story, making him a candidate for our guide. But he appears rarely and comments too little for us to feel any empathy with him.
This story, told from the point-of-view of Philomac, as a coming-of-age story, would have been much more powerful. Instead, we get to admire the visuals, and applaud another depiction of White Australia's brutalizing origin story. But there is no character to empathize with, no emotional journey to share, because the film lacks a centre. Worthy politics, but so-so storytelling skills.
This is a movie "inspired" by true events that relates a tale that could have been gripping. However, the story fails to anchor itself to any one character's point-of-view, and so the audience is set emotionally adrift. The indigenous man, Sam, on the run with his wife, would seem most likely to guide us through the story, but his thoughts and fears remain largely distanced and impenetrable. As for the white men, the sergeant has a romance storyline, and some kind of redemptive arc, though that particular transformation seems implausible. It hinges on us believing a fanatical racist is redeemed by hearing that the murder victim raped the accused's wife. It is hard to believe that a veteran lawman in such a town would be driven to life-changing action by this news.
Another character, the good Christian, book-ends the story, making him a candidate for our guide. But he appears rarely and comments too little for us to feel any empathy with him.
This story, told from the point-of-view of Philomac, as a coming-of-age story, would have been much more powerful. Instead, we get to admire the visuals, and applaud another depiction of White Australia's brutalizing origin story. But there is no character to empathize with, no emotional journey to share, because the film lacks a centre. Worthy politics, but so-so storytelling skills.
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