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Review

Anatomy of a Fall (2023)

One of the most exciting inclusions in the upcoming awards discussion is Anatomy of a Fall. Winner of the Palme d’Or at the 2023 Cannes Film Festival, the film follows novelist Sandra Voyter (Sandra Hüller) who is accused of murdering her husband, Samuel (Samuel Theis). Making use of the French Alps setting, Anatomy of a Fall is a film that perfectly balances open space with a claustrophobic feel.

Directed by Justine Triet who co-wrote the screenplay Arthur Harari, Anatomy of a Fall is captivating from beginning to end. Triet’s direction has a timeless quality, drawing inspiration from classic crime dramas with the use of close-ups. The surface plot regarding Samuel and his death serves as a door into Sandra’s character and her life. Triet’s triumph at Cannes is well-deserved, becoming the third woman to take home the Palme d’Or.

Sandra Hüller provides one of the best performances of the year as Sandra. The role was written with her in mind and this is made clear beyond the name. Hüller slips into the character of Sandra seamlessly, encapsulating every essence of her being. There is a wonderful subtle quality to the performance that leaves the audience unsure as to what she is thinking. It also cannot go unnoticed that Hüller also excels in another 2023 film in Jonathan Glazer’s The Zone of Interest. Both films received top prizes at Cannes (The Zone of Interest received the Grand Prix which is often regarded as second place) and this is thanks in large part to Hüller’s ability to really connect with her characters and provide layers and layers to her performances. The argument scene between Sandra and Samuel in particular is an acting masterclass and should earn Hüller nominations across the board with potential wins.

Swann Arlaud is fantastic as Sandra’s lawyer, Vincent. Anatomy of a Fall is undoubtedly Hüller’s film but the character of Vincent is essential as we learn so much about Sandra’s background through their conversations. Arlaud’s performance feels natural and serves as the audience’s way into understanding the mechanics of both the main plot and also learning more about Sandra and her struggles.

One of the standout performances in the film is Milo Machado Graner as Sandra and Samuel’s son, Daniel. Although his role is relatively small, he does a brilliant job, especially for a child actor. Like Sandra, Daniel keep his cards close to his chest. We see him vent his emotions through piano practice and sense his frustration and upset at the situation. It’s great to see Graner receive recognition for his wonderful performance.

The cinematography by Simon Beaufils is stunning in every setting. From the open landscapes to the chalet interior, Beauflis’ work captures seemingly idyllic and scenic images in a way that subverts these qualities and feels claustrophobic and uncomfortable. The use of natural light allows the vulnerability of the characters to shine through while the openness of the mountain range contrasted with the smallness of the chalet captures the overall mood of the film.

Overall, Anatomy of a Fall is a film that commands your attention. The writing is impeccable and Hüller leaves you hanging on every word. If only France had submitted this film for the Academy Awards it would have been the frontrunner. However, it would be a surprise not to see Anatomy of a Fall included in some major categories on nomination day, especially for Sandra Hüller’a magnificent performance.

What did you think of Anatomy of a Fall? Let me know in the comments below!

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Review

Past Lives (2023)

Past Lives is a beautiful film that presents two intricate character studies. Bringing the minimalist approach, it is a film that speaks volumes and weaves its non-linear narrative to create a heart-wrenching story of identity, love, and the loss of love. The film follows Nora Moon, a New-York based playwright who moved to Toronto from Korea as a child. By chance, she sees a comment on Facebook from childhood friend from Korea, Hae Sung, who is looking for her. They reconnect and the film follows the dybamics between the two as well as Nora’s husband, Arthur. Starring Greta Lee as Nora, John Magaro as her husband, Arthur, and Teo Yoo as childhood friend, Hae Sung, Past Lives is captivating from its opening shot.

Celine Song is undoubtedly the breakthrough writer and director of the year and it’s easy to see why. The film serves as a character study for Nora’s character as we see the entire film from her perspective. With lingering shots and thoughtful dialogue, Past Lives is a film that isn’t afraid to take its time. The screenplay is beautifully laid out following a non-linear structure as we begin to piece Nora’s life together like a puzzle. Song’s direction is equally intense as there is a significant focus on the characters, showcasing a film that looks sleek and excellent whilst also backing it up with plenty of substance.

Greta Lee provides one of the best performances of the year as Nora. Lee has been making her mark in shows like The Morning Show and Russian Doll, but here she is given the lead performance and what a breakthrough it is. Having won the Best Actress Award at Sundance Film Festival earlier this year, there was a lot of anticipation. Her turn as Nora is a beautifully subtle character study. Nora grew up in Seoul, South Korea and moved to Canada with her family as a child. We begin to learn about her experience as a Korean-immigrant and her perspective as someone who has spent of their life in North America.

The supporting turns by Teo Yoo and John Magaro are both fantastic, especially Yoo playing Nora’s childhood friend, Hae Sung. Yoo captures the downward spiral that Hae finds himself in. As he reconnects with Nora, it’s clear that he feels an inkling of hope. It’s as though Nora is a missing piece in his life. In Nora, he sees a life that he aspires to live as his own hasn’t panned out in the way he had hoped. The scenes between Yoo and Lee are beautifully to watch from their initial awkward encounter to their melancholy final scene. Magaro’s performance as Arthur is equally emotional as he sees Nora begin to reconnect with her Korean roots and has to watch as her chemistry with Hae Sung begins to spark.

The transcendent score by Christopher Bear and Daniel Rossen plays into the subtleties. Rather than drowning the visuals, the music works as an accompaniment and works to serve the performances. We feel the tension rising between Nora and Hae Sung in tracks such as “An Immigrant and a Tourist”. There is a whimsical element to the arrangements that feeds into the childhood aspects of the film. The music connects adult Nora and young Nora and the consistent tones serve as a connective thread to her character.

The cinematography by Shabier Kirchner makes Past Lives such a layered film. The wide shots showcase how small Nora is against the city backdrops whilst also remaining incredibly intense and personal to her perspective. The use of lighting in the opening scene quite literally places a spotlight onto the three characters as they are immersed in their own little bubble. Kirchner’s work makes Past Lives so individual to Nora’s perspective while also remaining universal and relatable thanks to these contrasts. The minimalist approach is captivating and makes it one of the most beautiful-looking films of the year.

While it may seem simplistic on the surface, Past Lives is one that allows the emotions and characters to grow gradually. We feel the dynamics shift and change as we learn more about Nora and Hae Sung’s past in Korea. There is a lot to be gained from this film and it whole-heartedly deserves repeat viewings. Past Lives will be looked upon as a classic in years to come.

What did you think of Past Lives? Let me know in the comments below!

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Review

Saltburn (2023)

After a little bit of time away, I’m finally back to carry on with this website and what better way to bring back the reviews than with one of the most-talked about films of recent weeks. That’s right. We’re diving into the scandalous world of Emerald Fennell’s sophomore film, Saltburn. The film follows Merseyside-born Oliver (Barry Keoghan), an Oxford student who becomes close friends with fellow student and aristocrat, Felix (Jacob Elordi). The film opens up to a world of class divides, drugs, and plenty of sex.

Written and directed by Emerald Fennell, the visionary behind the incredible Promising Young Woman (2020), Saltburn is an unflinching glance at society. Fennell’s direction is confident and dynamic. Despite only having two features under her belt, her signature aesthetic and style is evident. The screenplay is filled with charismatic characters. The first act of the film is oddly paced but once we are at Saltburn, Fennell’s writing truly takes flight. The exchanges between Oliver and the Catton family members really showcase how much of an outsider he is.

Barry Keoghan provides a tour-de-force performance as Oliver Quick. Keoghan has proven himself to be one of the best young actors working today. Following his Best Supporting Actor win at the BAFTAs for The Banshees of Inisherin, it’s great to see Keoghan lead a film. Oliver is a deeply complex character and the way Keoghan portrays him feels intimate without actually letting us in. His unpredictability makes the film, especially in the final act, extremely exciting.

Jacob Elordi is fantastic as aristocrat, Felix Catton. The audience quickly learns that Felix lives a life in blissful ignorance as he constantly dismisses his upbringing while simultaneously revelling in the benefits of living an upper-class lifestyle. Elordi portrays Felix as an aspiration that, try as he might, Oliver will never achieve.

The standout supporting performance in this film goes to Rosamund Pike as Felix’s mother, Elspeth Catton. Pike can always be trusted to provide a flawless performance (watch Gone Girl and I Care a Lot as proof) and Saltburn is no exception. It is no coincidence that the majority of highlights include Elspeth. From her first scene where she discusses Northern prejudices and stereotypes with “Poor Dear” Pamela (Carey Mulligan) to her final scenes with Oliver, Pike is an absolute joy to watch. Like Felix, she believes she is progressive when

The cinematography by Linus Sandgren is impeccable, emoting the richness of the Catton family. Sandgren does a fantastic job of bringing out Oliver’s inner conflict and desire to climb to the top. The use of mirrors in the film gives Sandgren the chance to convey a psychedelic quality that makes watching the film like a fever dream. Saltburn transforms from a traditional country estate to a house of madness.

Overall, Saltburn is a film that takes the audience completely by surprise. Fennell has proven her strength as a visionary yet again. While the screenplay may not pack a punch as much as Promising Young Woman did, Oliver is a fantastic protagonist and Keoghan’s performance made Saltburn such an exhililerating watch.

What did you think of Saltburn? Let me know in the comments below!

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Review

Beast (2022)

One blockbuster to be released this year is Beast. The film follows Nate (Idris Elba), a doctor who takes his daughters, Meredith (Iyana Halley) and Norah (Leah Sava Jeffries) to South Africa, where his late wife grew up. Things soon take a turn for the worst when they arrive at a small village to find that everyone has been slain. The cause of this turns out to be a lion that has lost its pride at the hands of poachers and seeks out revenge on all humans. Nate has to fight against the lion to get him, his daughters and his friend, Martin (Sharlto Copley) to safety.

The film is directed by Baltasar Kormákur and written by Ryan Engle. Beast is a film that has a lot to say regarding the treatment of animals and the poaching industry. However, it doesn’t seem to lean into these discussions as much as it could do and relies on creature feature tropes. Choosing the South African reserve is an excellent choice as it provides a lot of beautiful scenery. However, it feels as though more could be done to show the tensions rising between Nate’s friend, Martin (Sharlto Copley) and the local poachers in the area. Instead, we are given small glimpses. The same can be said for the backstory regarding Nate’s late wife. There is a lot of dialogue regarding the grief that Nate and his daughters feel in relation to the loss, but this isn’t shown as much as it could have been. This being said, Beast is a lot of fun to watch and is perfect for those who want to dive into a good old creature feature.

Idris Elba leads the film as Nate, a man trying to reconnect with his daughters following the death of his wife. The tension between Nate and his daughters is evident, especially the fractured relationship with his oldest daughter, Meredith. Compared to other characters in the film, it doesn’t feel as though much development is given to the character. The film seems to be focused more on how the daughters handle the grief of losing their mum compared to Nate. In the end, it just feels as though any potential development for Nate is dashed as the lion ends up surviving all sorts of situations and just seems hellbent on killing him.

Sharlto Copley plays Nate’s friend, Martin, a South African who grew up with Nate’s wife. Copley’s performance is the most intriguing of the film as there is clearly a lot more to his character than meets the eye. Martin has a wall of photography taken by and featuring Nate’s wife. The closeness between Martin and Nate’s wife is evident and whether or not there was an element of unrequited love, it’s clear that the bond between them was strong. It is also hinted at throughout the film that Martin is an anti-poacher, someone who kills poacher to protect the reserve and the animals. The scenes in which this topic is discussed, including Nate’s confrontation with a group of poachers are among the best in the film and it would have been great if the writing delved into this more. Copley provides the film’s standout performance as there seems to be a lot of unexplained backstory that makes the development and actions interesting to watch.

Iyana Halley and Leah Sava Jeffries are both great as Meredith and Norah, respectively. They have a great rapport with each other with Meredith being quieter and more openly grief-stricken whereas Norah is extremely confident and is eager for the adventure, albeit without any signal or WiFi. Again, the writing doesn’t provide a lot in terms of characterisation and growth, but Halley and Jeffries both make do with what they have, bouncing off one another brilliantly.

The cinematography by Philippe Rousselot takes advantage of the South African scenery. The way in which Rousselot captures the film feels as though there are long and relentless takes, especially during the scenes of conflict. We are immediately thrown into the conflict between man and nature from the opening scene. The constant movement and relentlessness of the camerawork makes the audience feel immersed in the experience which could be overwhelming at times. However, scenes such as the confrontation with the poachers are shot brilliantly as the darkness means we are restricted from seeing every person, meaning that the unexpected could occur.

The music by Steven Price is among the highlights of the film. The soundtrack helps to build up the tension in the film and at times feeds into the relentless of the cinematography. The titular track highlights the chase aspect of the film with the crescendo building throughout. The atmospheric “The Fire Is Still Hot” is quieter and provides an element of mystery as Martin and Nate try to figure out what has happened to the villagers when no one is there.

Beast is a film that touches on some interesting topics such as poaching and grief, but it does not delve into these as much as it could have. However, it is still fun to watch and provides good performances from its cast, especially Sharlto Copley as Martin. For those wanting to watch a simple creature feature that has a gorgeous backdrop, Beast is a great choice for you.

What did you think of Beast? Let me know in the comments below!

Beast is out in cinemas now!

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Review

Not Okay (2022)

One film that has gained a lot of attention on social media is Not Okay. The film follows Danni Sanders (Zoey Deutch), an aspiring writer currently working as a photo editor for an online magazine. Despite her extreme privilege, Danni is unsatisfied with life and pretends that she has been accepted on a writing retreat in Paris. Using her photo editing skills, Danni posts pictures on social media but this comes back to haunt her as she finds herself in a web of lies when a terrorist attack happens at the Arc de Triomphe where she had posted as her location at the time of the attack. Pretending that she is a survivor of the attack, Danni finds the fame and recognition she wanted whilst also befriending people from a local trauma support group such as Rowan (Mia Isaac). However, the more famous she becomes, the more twisted the lies become.

Written and directed by Quinn Shephard, Not Okay is hilariously self-aware from the opening shot. The film begins with a warning card that includes “unlikeable female protagonist”, apparently a clapback at some negative feedback from initial screenings. It’s clear from watching the film that Danni is not meant to be a “likeable” character as she radiates entitlement. However, what Shephard’s script does is peel away at Danni’s character until we see her eventual breakthrough. As Danni’s friendship with Rowan grows, the former starts to realise the gravity of the situation she’s in and begins to act more human despite the lies. This being said, Shephard isn’t interested in justifying or understanding Danni’s behaviour with the film being an exploration of privelege and identity. Danni is so eager to gain recognition on social media and is clearly willing to do whatever it takes to achieve this instead of coming clean in the first place.

Zoey Deutch stars as protagonist Danni Sanders, a young woman who comes from a privileged background and feels that deserves more. From her opening scenes in which she patronises her LGBTQIA+ coworkers and ignores her photo editing colleague, it is clear that Danni is an inherently selfish and self-absorbed person. Like a lot of people, she lives her life on social media and craves a wider recognition. When she pretends to visit Paris on a writing retreat, she begins to grow in popularity but she cements her influencer status when she lies about surviving a terrorist attack and speaks of her “experience”. Deutch’s performance perfectly mixes the entitlement and the character’s sincere struggle for recognition. There is a level of self-awareness in Deutch’s performance that works brilliantly as the dark humour takes the weight from some of the heavier subjects discussed in the film.

Mia Isaac is one of this year’s breakthroughs as Rowan Aldren. Rowan is a brave and resilient young woman who is part of a trauma support group after she witnessed a school shooting. Using her story, Rowan has since become an activist fighting against gun use and has a strong social media following thanks to her passionate speeches and spoken word. Isaac’s performance is nothing short of fantastic, channelling Rowan’s trauma which makes the eventual realisation of Danni’s lies absolutely devastating. The scenes in which Rowan performs her spoken word poetry are captivating and you can feel Isaac emphasising each and every word as though her life depends on it.

In a small but hilarious role is Dylan O’Brien as influencer, Colin. Colin dismisses Danni, despite her clear efforts to get him to notice her, but soon becomes interested once she garners fame. O’Brien’s performance feels similar to James Franco’s turn as Alien in Harmony Korine’s Spring Breakers in that both characters are clearly taking on a stoner bravado. O’Brien is not in the film a lot and Colin doesn’t contribute a lot to the film’s overall plot, except to showcase how shallow influencer-culture can be. However, O’Brien is clearly having a lot of fun in the role and shows him in a more comical role that he hasn’t shown before.

One of the highlights in the film is the music by Pierre-Philippe Côté. The original tracks are short and sweet with a cappella sounds that are snappy. Côté’s score being so short and quick reflects social media’s tendency to focus on one topic or subject intensely for a brief amount of time before swiftly moving onto another without looking back. The music itself sounds cheery and upbeat for the most part, contrasting greatly with the darker subject matter.

Not Okay is a pleasantly surprising film. It is completely aware of its “unlikeable female protagonist” and doesn’t try to understand or justify her actions. Deutch and Isaac’s performances are excellent with the latter providing a brilliant breakthrough with such range and talent. Not Okay may not be a perfect film, but it manages to grapple with surface topics such as identity and social relevancy whilst also delving into more political territory such as gun control.

What did you think of Not Okay? Let me know in the comments below!

Not Okay is available to watch on Disney+ now!

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Review

Nope (2022)

Out of all the films to be released this year, Nope was one that was filled with anticipation. Jordan Peele has established himself as a master of modern horror with his previous films Get Out and Us. Nope sees Peele stick with the horror genre but deals with a new subgenre – aliens. The film follows the Haywood siblings, OJ (Daniel Kaluuya) and Emerald (Keke Palmer) who are running the family ranch following the mysterious death of their father, Otis (Keith David). When the horses begin to act weird and disappear, OJ realises that there may be something extraterrestrial occurring. Along with tech-wiz, Angel (Brandon Perea) and cinematographer, Antlers Holst (Michael Wincott), the Haywoods must find a way to track down and film footage of the UFO to get money.

Written and directed by Jordan Peele, Nope is another excellent addition to one of the most exciting horror filmographies of modern times. The writing is brilliant as always as Peele includes little details that help weave various plots together to show a connection throughout the film. Nope seems to be an exploration of the spectacle and how humans are obsessed with documenting and recording everything that happens. For example, Steven Yeun plays Ricky “Jupe” Park, a small theme park owner who was a child star in his youth. During his tenure as a child actor, we see an incident in which a chimp loses control on set after a balloon pops and the affect that this has on Jupe is evident in his adulthood. However, he still cannot help but look back on his traumatic childhood with fondness. This inner conflict is what drives Nope and ironically, the audience too becomes invested in the spectacle.

Collaborating with Peele again is Daniel Kaluuya who plays as Otis Jr. “OJ” Haywood. OJ is quiet and reserved, desperate to save his father’s business from closure. However, OJ’s understanding of dealing with and taming horses all his life has unexpectedly equipped him with the skills needed to handle the UFO. OJ may not have the same level of depth or characterisation as Chris in Get Out, but the chemistry he has with Em is fantastic. There are some great moments of humour from Kaluuya as well which he manages to convey even through OJ’S quietness.

Keke Palmer stars as OJ’s younger sister, Emerald “Em” Haywood. She is loud and vibrant which is extremely noticeable when she is onscreen with OJ. The first scene we see Em in when she gives a safety talk onset is fantastic and hilarious as she oversells Haywood’s services while also trying to get hired as an actress herself. While OJ seems to be the voice of reason with a level-headed approach, Em is more hot-headed and acts spontaneously without thinking ahead of the consequences. The climactic scene in which Palmer attempts to capture footage of the UFO is a testament to her ability to switch between comedy and drama instantly.

In support, Steven Yeun as Ricky “Jupe” Park in a role that may be small but is deeply complex. Jupe’s experiences as a child actor in fictional sitcom Gordy’s Home are interwoven into the film, displaying this thread of trauma that has followed him into adulthood. Even as an adult, Jupe collects memorabilia of Gordy’s Home and charges people thousands of dollars to look at his collection. He speaks of the past fondly, but we see a different tale of events, showing the contrast between what we are seeing and what we are being told. In this respect, Jupe’s retelling of his past could be a way of him trying to work through what happened as well as the obsession that people have with spectacles and the unexpected. Jupe is one of the best characters that Peele has crafted because of how nuanced every line and action in. The scene following the flashback in which we see Jupe deep in thought before quickly reverting back to a smile and cheery persona.

As with each Peele film, the music by Michael Abels remains a highlight. Abels draws on classic Western sounds and whimsical tracks to create a score that feels as though the film takes place in another universe. The track “Jupiter’s Claim” feels reminiscent of music that would be played in a real theme park and transports the audience into a world far from the glamour of Hollywood. On the other hand, tracks like “It’s In The Cloud” draws on traditional horror tropes such as fast strings and crescendo to increase the tension in the scene. In many respects, Abel’s music has become an integral component of Peele’s films thanks to his ability to adapt to the different subgenres beautifully.

Nope boasts a much bigger budget than Get Out and Us and it is easy to see why. Given the film’s alien-themed plot, it was clear that this film was going to utilise cinematography on a much larger scale. For a big blockbuster, it makes sense that Peele entrusted frequent Nolan collaborator Hoyte van Hoytema as cinematographer. Having worked on huge films such as Interstellar and Dunkirk, van Hoytema is the perfect choice as his work is larger than life, making use of vast space without it looking empty or boring. The scenes in which the characters lay a trap for the UFO makes use of the natural land while combining it with technology so they can capture the footage. On the other hand, van Hoytema also incorporates deeply claustrophobic work through the shots inside the UFO in which we see people trapped in a vertical line upon one another, awaiting their fate. The intriguing design and set up of the shot contrasts greatly with the open space that we had become acquainted with throughout the film. This is then followed by a scene that feels reminiscent of a classic horror film in which the UFO disposes of all the remains and belongings on top of the Haywood’s house. Van Hoytema’s previous work has predominantly consisted of action films but in Nope, he executes the horror elements brilliantly.

Like Get Out and Us before it, Nope sees Peele subverting horror tropes with a beautifully woven and detailed script and excellent performances all around. It feels much grander and larger in terms of scale and it’s great to see Peele expanding in terms of his storytelling and visuals. Nope is not only a story about alien invasion, but a look into mankind’s obsession with the spectacle and how we deal with trauma.

What did you think of Nope? Let me know in the comments below!

Nope is out in UK cinemas now!

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Review

Bullet Train (2022)

Summertime tends to see the release of big Hollywood blockbusters and action films and one that has been widely marketed is Bullet Train. The film follows mercenary Ladybug (Brad Pitt) who is tasked with acquiring a briefcase from a bullet train that is travelling between Tokyo and Kyoto. Ladybug has undergone therapy after experiencing bouts of bad luck throughout his career and applies a newfound optimism to the job. Unbeknownst to him, the bullet train is not only carrying the briefcase owners, Tangerine (Aaron Taylor-Johnson) and Lemon (Brian Tyree Henry), but also The Father (Andrew Koji), The Prince (Joey King), assassin The Hornet (Zazie Beetz) and The Wolf (Benito A. Martínez Ocasio aka Bad Bunny). All these characters have their own reason and motive for being on the train yet they all seem to be connected to the mysterious White Death (Michael Shannon).

The film is directed by David Leitch with the screenplay written by Zak Olkewicz based on the book of the same name by Kōtarō Isaka. The majority of the film takes place on the train but the way Leitch directs feels as though each carriage is in its own world. This is a film that has a lot of moving parts and players involved so at times the screenplay does suffer as we get to learn about some characters more than others. Even though Ladybug is the protagonist, it seems that the screenplay has extended portions dedicated to side characters who don’t serve as much to the larger plot or aren’t present in the film for as long. However, the quick edits and action-packed sequences ensure that the audience isn’t bored when watching. Leitch’s direction is clearly inspired by the likes of Quentin Tarantino and while the film’s homage to Japanese culture may not be the strongest, it does remain an entertaining watch throughout.

Brad Pitt plays protagonist Ladybug, who has adopted an optimistic outlook following time in therapy. Trying to avoid any violence on his mission, Ladybug sure enough experiences more violence and gore than ever before but luck seems to swing in his favour. Pitt’s performance is absolutely delightful and charismatic, showcasing a funny side to him like we got to see in Once Upon a Time in Hollywood. The scenes in which Ladybug begins to ramble about his new perspective on life and seeing the reactions of other mercenaries and assassins on his journey is hysterical.

When it comes to the supporting cast, the highlight undoubtedly is Aaron Taylor-Johnson as Tangerine. Taylor-Johnson arguably has the most to play with in terms of characterisation for the supporting characters as he and twin, Lemon, have to deal with the liss of the briefcase. Taylor-Johnson has had an extensive career that spans across multiple genres but Bullet Train feels akin to Kick-Ass in terms of its sweary, non-stop action. However, his performance as Tangerine allows him to channel a rough assassin who also has a soft side, especially when it comes to his brother. In a film full of laugh-out-loud moments, Taylor-Johnson is responsible for a lot of them.

Playing Tangerine’s brother, Lemon is Brian Tyree Henry, who has had an extensive career in TV and film that crosses a multitude of genres. Although he is a dangerous assassin, Lemon shows affection for the TV show Thomas the Tank Engine throughout, saying that he learns a lot about people through the characters on the show. Although the metaphor does grow tiresome eventually, it does allow for some sweet moments, especially between the brothers when things don’t go according to plan. Henry’s performance as Lemon is great and he has great chemistry with Taylor-Johnson, but it feels as though he wasn’t given as much room to develop in the same way that Tangerine is which is a shame as the brothers provide some of the funniest moments in the film such as a flashback where they debate how many people they killed during a mission.

One thing that is undeniable about Bullet Train is how striking it is to look at. The cinematography by Jonathan Sela plays a huge role in this as Sela makes use of various lighting and shots to manipulate the limited space. From the carriage that is dedicated to the fictional anime character, Momomon to the tranquil first-class carriage that is more classic and upscale in design, the bullet train in Bullet Train feels much bigger and grander than what it is.

Bullet Train may have its flaws, but there’s no denying that it is a lot of fun to watch. With a star-studded cast and plenty of exciting action sequences, Bullet Train is a film that doesn’t take itself seriously and doesn’t want the audience to either. Brad Pitt is his usual charismatic self as the unlucky “Ladybug” and it’s clear that he is having a lot of fun in the role.

What did you think of Bullet Train? Let me know in the comments below!

Bullet Train is out in UK cinemas now!

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Review

Prima Facie (Live Screening, 2022)

Trigger warning: This review delves into various aspects of Prima Facie, including its depiction of sexual assault and rape.

One the plays that has had theatregoers talking this year is Prima Facie. Suzie Miller’s legal play follows the story of a criminal defence barrister, Tessa (Jodie Comer), whose world is turned upside down after she is raped as she experiences the injustice of the system in the way it treats victims of sexual assault. It is a one-woman play with BAFTA and Emmy-winning actress Jodie Comer making her West End debut in the role and she delivers a powerful performance. It’s no wonder that the play has been so successful that it is being transferred to Broadway with Comer reprising the role of Tessa. This live screening of Prima Facie was arranged by the National Theatre.

The play is written by Suzie Miller and her legal background is evident given how detailed and precise the writing is. The play premiered in Sydney in 2019, but what is nice about this production is that Miller has incorporated Comer’s Scouse background and added touches of Liverpool throughout the dialogue. Prima Facie is a play that explores the serious issue of sexual assault and how it is currently dealt with in court as victims as made to appear at fault and picked apart by defence teams. It is also a play about class as Tessa’s working class background and outlook contrasts greatly with the people she socialises with. Where Tessa has had to work extremely hard for her career, it seems almost expected of her privately educated peers that they would fall into a similar line of work.

The play starred Jodie Comer as Tessa and she completely embodies everything about the character from the moment she steps on stage. Comer has blown the world away thanks to her impeccable acting on film (The Last Duel and Free Guy) and television (Doctor Foster and Killing Eve) and now she dominates the stage. Tessa is an ambitious woman who works her way up to a successful career and along with it, finds herself socialising with the middle and upper classes. This is a far cry away from the character’s Scouse working class upbringing. What is nice about Comer’s portrayal is that it gives the actress the chance to embrace her natural accent throughout. Although the play is a one-woman show, the scene in which Tessa is raped feels extremely explicit and graphic because Comer’s performance is so intense.

The music by Self Esteem, credited as Rebecca Lucy Taylor is exceptional and feeds into the claustrophobic nature of the courtroom and the tragic assault that Tessa experiences. Before the live screening began, we were shown an exclusive performance of Self Esteem’s song “I’m Fine”. The message of the song runs through the play and is a fitting anthem for the play. Taylor’s unique sound and style is evident throughout the score for Prima Facie. The opening track “The Winner” backs

Prima Facie is a play that is difficult to watch due to the subject matter, but it is an extremely important play for the same reason. Miller’s play provides insight into the injustice in how the system deals with sexual assault cases and how wrongly the victims are treated. We see Tessa at both sides of system, starting in her role as a criminal defence barrister and using the techniques that the law permits, but in the second half of the play, she is victim to those same tactics and realises how the justice system does not deal with these cases in a fair manner.

What did you think of Prima Facie? Let me know in the comments below!

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Review

The Unbearable Weight of Massive Talent (2022)

The Unbearable Weight of Massive Talent is one of the most meta comedies to be released this year. The film serves as a tribute to the filmography and persona of iconic actor, Nicolas Cage. Over the years, Cage has garnered a reputation for his unique acting style that has often been parodied and discussed and The Unbearable Weight of Massive Talent is a perfect response from the man himself. The film follows Cage playing a fictionalised version of himself who is offered $1 million to travel to Spain and attend billionaire Javi Gutierrez’s birthday party. Struggling to revitalise his career and maintain a relationship with his daughter, Cage soon finds himself in the middle of a major operation as CIA agents Vivian (Tiffany Haddish) and Martin (Ike Barinholtz) rely on Cage for intelligence.

Directed by Tom Gormican who cowrote the screenplay with Kevin Etten, The Unbearable Weight of Massive Talent leans into everything we love about Nicolas Cage, even going as far as to include a version of Cage named “Nicky” that torments him about the direction his life has taken. The film acts as a retrospective of Cage’s vast filmography while also allowing Cage to showcase his talent thanks to the range that the role demands. The script may not be the most complex, but it doesn’t need to be as this film is all about the actor and his performance while also giving Pedro Pascal an opportunity to show that he is incredibly funny.

Nicolas Cage plays a fictionalised version of himself while also playing a hallucination that parodies an appearance Cage made on TV in the 1990s. His performance is quintessential Cage, bringing his signature charisma with a brilliant level of self-awareness, showcasing his passion for acting. What is fantastic about Cage’s performance is that it feels genuine and sincere in execution with plenty of nods and tributes to his extensive filmography. There are plenty of parodies and memes online surrounding Nicolas Cage and his performances, but it is often forgotten that the man is actually a brilliant actor and thay the charisma feeds into each of his performances, especially his action films of the 90s. Cage’s performance in The Unbearable Weight of Massive Talent gives him the platform to show just how good an actor he is while equally feeding into the frenzy that surrounds him in popular culture.

In support, we have Pedro Pascal who plays billionaire Javi Gutierrez. Pascal has proven his dramatic skills, especially on TV with his performance in Game of Thrones still remaining a fan favourite even though he wasn’t in a lot of episodes. However, in The Unbearable Weight of Massive Talent, Pascal shows that he is more than capable of pulling of a comical performance. Unpredictable and intense, Pascal feeds off Cage’s eccentric energy and the two make a great pair to watch throughout. What makes Pascal the perfect choice for the role is how likeable he is while also providing an intensity that works brilliantly against Cage’s eccentricity. It’s clear that Pascal is having a lot of fun in the role which makes it even more enjoyable to watch.

The score by Mark Isham plays into the action and feels reminiscent of Cage’s films from the 90s with a mix of fast-paced tracks to backdrop the chase scenes while slower and more dramatic tracks support the emotional moments between characters. The track “They Made You” is one of the highlights as it is filled with plenty of tension while also incorporating the Spanish guitar to reflect the film’s setting. Isham’s score works well as it fits the film perfectly while also leaning into Cage’s persona and filmography.

The Unbearable Weight of Massive Talent is a wonderful celebration of Nicolas Cage and his unique charisma and acting style. However, the film isn’t simply a tribute to the star as it incorporates an intriguing storyline and a phenomenal turn by Pedro Pascal who has great chemistry with Cage throughout the film. With plenty of humour from beginning to end, there is also a thread of sincerity that brings an emotional weight to the film.

What did you think of The Unbearable Weight of Massive Talent? Let me know in the comments below!

The Unbearable Weight of Massive Talent is available to own on DVD and bluray!

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Review

Brian and Charles (2022)

One of the big surprises to come out of Sundance: London Festival this year was Brian and Charles which won the Audience Award. The film follows Brian Gittins (David Earl), a middle-aged inventor who lives by himself in a rural Welsh village. When he comes across a mannequin head in a pile of rubbish, he is immediately inspired and creates a robot that has a washing machine for a body. One stormy night, the robot comes alive and is given the name Charles Petrescu (Chris Hayward) and the film chronicles their adventures with all their ups and downs, especially as Brian grows close to Hazel (Louise Brealey), a woman who lives in the village with her mum.

The film is directed by Jim Archer from a script written by the film’s stars, David Earl and Chris Hayward. What works so well is how coherent and well-matched the directing style is with the writing. The backdrop of rural Wales works beautifully with the whimsy and magic of the script, while also maintaining a minimalism that truly allows the characters to shine. Brian and Charles is a film that wears its heart on its sleeve and puts its characters right in the centre of the plot, meaning that there is no need for bells and whistles and elaborate set pieces. The stripped-back nature of the filmmaking style goes hand-in-hand with the simplicity of the plot. The film is a mockumentary which is highly evident in the film’s opening scenes as Brian is lonely and only has the crew to talk to, but as the film progresses and he finds friendship in Charles and a blossoming relationship with Hazel, he engages with the crew less and less, becoming less concerned with how he is perceived on camera.

David Earl stars as Brian, the lovable and lonely inventor who finds that making a robot gives him a new found confidence and a fresh perspective on life. Earl’s performance is sweet as we see Brian grow in confidence throughout the film as he learns to stand up to a family that thrives on bullying the locals, including Brian himself. The scene in which Charles has been kidnapped and Brian doesn’t have the confidence to take him back when he has the chance is heartbreaking as we really feel the character’s predicament and pain in the situation.

Playing Charles is Chris Hayward who dons a box and mannequin head with style. What makes Hayward’s performance so effective is that he successfully manages to get the audience to care for Charles from the offset. Charles is eager to explore the world and feels trapped by Brian who forbids him from venturing outside without permission. It seems impossible that a robot would be able to feel emotion or have dreams, but Charles does and we see his attitude change as he begins to rebel against Brian.

In support, Louise Brealey plays Hazel, a shy and nervous woman who lives in the village with her mum and parrot. Just like Brian, Hazel is also incredibly awkward and afraid to go after what she wants. When Charles is introduced on the scene, he helps Brian and Hazel to push through their awkwardness and explore the potential for a relationship. Hazel proves to be a strong ally for Brian and Charles, doing everything she can to save the latter when he is kidnapped. Brealey is a great onscreen partner with Earl as they are able to bounce of the awkward humour successfully.

The score was composed by Daniel Pemberton, who continues to showcase his ability to adapt to all sorts of genres. His score feeds into the whimsy in the story with the opening track, “Wales, Land of Wonder” setting up the film’s laid-back and minimalism. However, this is also contrasted with robotic sounds such as the track “Crossed Wires” which exaggerates the growing tension between Brian and Charles as the latter is desperate to leave and go on his own adventure while Brian refuses to let this happen. What makes Pemberton one of the best British film composers working today is his ability to bring forth the characters’ emotions in his tracks and allowing the music to compliment those feelings and bring those feelings to the surface.

Brian and Charles has proven to be one of the best feel-good films of the year. It’s a film grounded in minimalism that doesn’t need all the bells and whistles to convey its message. Just like the gorgeous natural Welsh landscape that surrounds the village, Brian and Charles is an emotional and funny yet sincere tale about friendship and coping with loneliness. While it is a film that is simple in its storyline and execution, the way it explores themes of loneliness, relationships and belonging is incredibly rich and will leave you with a smile on your face long after the credits roll.

What did you think of Brian and Charles? Let me know in the comments below!

Brian and Charles is available to watch in cinemas now!