Categories
Review

Thor: Love and Thunder (2022)

Thor: Love and Thunder is the latest installment in the Thor franchise and most recent addition to the Marvel Cinematic Universe. The film follows Norse God of Thunder, Thor (Chris Hemsworth) who has been on many adventures with the Guardians of the Galaxy. When it transpires that Gods across the universe are being slaughtered by Gorr, the God Butcher (Christian Bale), Thor must return to New Asgard with Korg (Taika Waititi) and team up with Valkyrie (Tessa Thompson) and Jane Foster (Natalie Portman), who has bonded with Thor’s old hammer, Mjolnir, and becomes the Mighty Thor in the hopes of stopping Gorr from completing his quest.

The film is directed by Taika Waititi who cowrote the script with Jennifer Kaytin Robinson. Whereas Thor: Ragnarok leaned more heavily on its use of humour to mark a change in tone for the Thor franchise, it seems that Waititi wanted to incorporate a more serious undertone with the film’s discussions on loss of faith and loss of love and grief. However, if seems that Waititi and Robinson struggled at parts to get a balanced tone in certain parts as there were moments of sincerity that were undercut with humour and it didn’t quite land in the way it was meant to. These moments tended to be when Jane was discussing her illness with Thor. The writing in the opening sequence with Gorr felt overly explained and it would have had a stronger impact if every stage of Gorr’s plan wasn’t whispered to him as the audience can put the pieces together of what his intentions are at this point in time. That being said, the final act of the film was among the best that Marvel has to offer as Waititi and Robinson weren’t afraid to confront darker and sadder themes.

Chris Hemsworth is fantastic as usual in the leading role of Thor, continuing to showcase the funnier side of the God of Thunder that Waititi introduced us to in the previous installment, Thor: Ragnarok. Despite the tonal misbalance in the writing, Hemsworth does an excellent job of leading the film, while also proving his ability to balance comical and dramatic acting. His scenes with Jane are filled with inner emotional conflict that he refuses to admit, but as the film progresses, his vulnerability begins to show. It’s clear that despite all the success that Thor has and how much he has achieved, not having Jane in his life has taken its emotional toll on him.

Natalie Portman’s performance is heartbreaking as Jane is revealed to be terminally ill. As her body us unable to fight against the cancer, Jane turns away from science and looks to magic in the hope that it will save her life. She is called by Mjolnir, Thor’s old hammer, and becomes Mighty Thor. While Jane was arguably wasted in previous Thor films, especially, Thor: The Dark World, Thor: Love and Thunder makes the most of Portman’s exceptional talent. She is able to weave in traces of her own personality and passions, including lines that reference Jane’s strength as a woman and her achievements as a woman in science. Thor: Love and Thunder works as an ode to Jane’s character and makes complete use of Portman’s abilities.

Christian Bale is the film’s scene stealer as Gorr the God Butcher. Following his daughter’s demise in the film’s opening scene, Gorr becomes disillusioned with the concept of Gods and their duty to provide salvation for their followers. He is chosen by the Necrosword and vows to kill all Gods with the weapon. The way that Gorr is portrayed and written into the film is unlike the majority of Marvel villains. We truly get to see Gorr’s perspective as his frail and starving demeanor is transformed into a monster that is almost ghostly as he makes his way across the universe, slaying Gods. Another reason that Gorr is an intriguing character is that his reasoning for killing Gods is actually justified. He and his community have committed their lives to serving Gods that simply do not care for their devotees. His quest for justice is by no means right, but it’s not entirely wrong either. Just as the Shadow Realm is portrayed, we venture into a grey area in terms of morality.

The cinematography provided by Barry Idoine is highly striking and makes Thor: Love and Thunder such a rollercoaster to watch. The vibrancy of the scenes in Omnipotent City where the remaining Gods reside contrasts beautifully with the darkness of the Shadow Realm where Gorr is residing. The scenes in the Shadow Realm may be stripped of colour, but the way Idoine angles and contrasts the darkness and light goes hand in hand with the film’s themes of right and wrong. As Thor, Mighty Thor and Valkyrie search for the children in the Shadow Realm, their weapons light the way and provide glimpses of colour on their clothes and skin, which is a very nice touch to show their limited power in this place.

While Thor: Love and Thunder may have moments of tonal misbalance and a script that doesn’t quite hit the same mark as predecessor, Thor: Ragnarok, it does a brilliant job of bringing in old and new characters, while also allowing Waititi to integrate his own signature quirkiness and humour into the mix. With plenty of appearances from a variety of characters including the Guardians of the Galaxy as well as a fantastic performance by Russell Crowe as Zeus, Thor: Love and Thunder is an entertaining watch that includes some brilliantly executed emotional moments as well as a stunning turn from Bale.

What did you think of Thor: Love and Thunder? Let me know in the comments below!

Thor: Love and Thunder is available to watch in cinemas now!

Categories
Review

Elvis (2022)

Elvis is one of the big films to be released this year as it sees Australian filmmaker Baz Luhrmann make a return to the big screen since his 2013 adaptation of F. Scott Fitzgerald’s The Great Gatsby. Starring Austin Butler as the titular musician, Elvis Presley, the film chronicles his turbulent relationship with his manager, Colonel Tom Parker (Tom Hanks) and his attempts to balance an incredibly successful singing career and a family life with wife, Priscilla (Olivia DeJonge) and daughter, Lisa-Marie. It’s a dazzling film that is relentless in storytelling yet simultaneously tells a tragic story about a talented individual who is consistently taken advantage of, culminating in a sad end that sees him addicted to drugs and unable to break free from his manager’s clutches.

The film is directed by Baz Luhrmann who cowrote the script with Sam Bromell, Craig Pearce and Jeremy Doner. As expected from a Luhrmann film, Elvis is a striking film that believes in a “more is more” philosophy, cramming in plenty of visual symbolism and cultural references to emphasise the setting of the film. Luhrmann knows how to craft a film that coincides with music and while the script may be hefty coming in at 160 minutes with odd pacing at time, it allows us to see a side to Elvis that the audience never got to see. There are certain elements that are looked over as it’s clear that Luhrmann wants to ensure that Elvis is portrayed in as positive a light as possible, while also ensuring that Parker is the clear villain of the film which is does.

Austin Butler beat out a ton of big names to portray the musician. His Elvis doesn’t feel like a cheap imitation in the way that many musician biopics do. Butler’s performance feels thoroughly researched and dedicated as there is a longing that Elvis has to better his career and a frustration as his attempts to try new things are stopped by Parker. The scenes in which Elvis confronts Parker about the latter’s behaviour is truly terrifying as all the tension and anger had bubbled to the surface. His singing performance is also excellent as it doesn’t feel as though he is trying to do a perfect match, but he does sound a lot like Elvis, making it difficult to separate which sounds and images are Butler and which are Elvis throughout.

Tom Hanks portrays Colonel Tom Parker in a role that sees him play against type. Hanks has been open in the past about not playing a villain, but it all changes when portraying Parker. An intriguing decision Luhrmann made was to shoot the film from Parker’s perspective, ultimately making him no different to an unreliable narrator. Parker is surprised by the accusations that have been thrown his way through the years and denies that he treated Elvis badly. Hanks’ performance is filled with deceit and deception as he manipulates Elvis into doing his business. While it may not seem obvious at first, his manipulation becomes more obvious and desperate as the film goes on. It will be surprising if Hanks is not brought into the Best Supporting Actor conversation come award season as it shows him tackling new range.

As with any Baz Luhrmann film, the cinemtography is a sight to behold. Collaborating with Luhrmann for a second time is Mandy Walker, who worked on his 2008 film, Australia. Walker conveys the delusion of show business and its ruthless nature. One moment we are at Elvis’ youth which is simplistic and more traditional in its style before diving into the bright, dizzying lights of Vegas and the swirling roulette tables that are always spinning as we see Elvis worked to the bone at the hands of his greedy manager.

One element that contributes to the striking aesthetic is the costume design by Catherine Martin. This is a film where the costumes become a character themselves as Elvis dons almost one hundred different costumes throughout the movie. What is impressive about Martin’s dedication to her craft is that she commissioned costumes that were made in exactly the same way that Elvis’ jumpsuits were made for the stage. This gives the costumes that authentic feeling without feeling silly or like a caricature. Even the elaborate stage costumes have a natural appearance about them as we have seen Elvis’ personal style develop over the course of the film’s 160 minute run.

The film is filled to the brim with Elvis classics, but what Luhrmann does that is always brilliant to see is tweak the music and incorporate a more modern film. In the same vein as Mounlin Rouge!, the soundtrack is filled with covers from current artists, showcasing the timelessness of Elvis’ music. What the sound department do brilliantly is combine the original Elvis vocals with the covers so it becomes one song, while the score and sound mixing is done brilliantly throughout the film so the audience are truly immersed in music, as though we were in Elvis’ mind.

Overall, Elvis may contain all the trademarks associated with Luhrmann’s filmography and it works beautifully with the film’s subject by showcasing the glitz and glamour of show business. With excellent leading performances from Butler and Hanks, it’s easy to imagine this film up for some nominations come awards season, even if there is a while to go.

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

Elvis is available to view in cinemas now!

Categories
Review

All My Friends Hate Me (2021)

All My Friends Hate Me is a British comedy horror films that has proven to be one of the underrated gems of year. The film follows Pete (Tom Stourton), a charity worker, who is planning to spend his 31st birthday with friends from university who he hasn’t seen in years. The celebrations take place at the estate owned by friend George (Joshua McGuire) and it becomes apparent that while Pete may have matured since his partying days, the same cannot be said about his friends who seem to be stuck in the past. When newcomer, Harry (Dustin Demri-Burns), joins the group on their escapades, Pete grows more and more paranoid that he is being pushed out the group.

Directed by Andrew Gaynord and with the script written by Tom Palmer and Tom Stourton, All My Friends Hate Me is a brilliant take on British horror. It subverts everything you would expect from a British horror film while exploring issues revolving around class and privilege. Palmer and Stourton’s script is a perfect blend of horror and comedy demonstrating plenty of examples of excellent comedic timing throughout the duration of the film. Despite only running for 93 minutes, the film is full of character development for its cast thanks to the peppering seeds of doubt that are planted all the way through the film, leading to the extremely tense climactic scene. Gaynord’s direction takes advantage of the limited locations by making the large estate feel incredibly small and claustrophobic as though Pete has no means of escape.

Tom Stourton leads the cast as protagonist Pete, a charity worker who believes that he has grown up and matured since his university days, while the others seem to be trapped in the mentality. What is great about Stourton’s character and the performance is that he is not as different to the others as he may think. He comments on their backgrounds and their privilege plenty, despite coming from a similar background himself, while also forgetting about the various displays of behaviour that he had committed at university in a bid to disconnect himself from that privilege and lead a life where he can help those less fortunate. However, simply forgetting or refusing to acknowledge privilege and wrongdoings of the past is not good enough and in this film, we see the paranoia and delusions unfold as Pete is forced to look in the mirror and reflect on what kind of person he is and who he has been. Pete is such a fantastic character to follow because he ventures in this grey area where there is no blatant right or wrong.

There are lots of brilliant supporting turns, but Graham Dickson shines as the super-posh, Archie, a selfdescribed “toff” who is struggling to come up with a decent business plan. What makes Archie a gem of a character is that he is fully aware of his privelege and takes ownership of his lifestyle. He is both likeable and unlikeable at the same time and it’s a testament to Dickson’s ability to exaggerate the character without it feeling like a caricature. Totally opposite to Archie is Pete’s girlfriend, Sonia who is played by Charly Clive in what can be deemed as the most grounded performance. Sonia is from the North (presumably meant to read as working class) which immediately puts her in a separate category from everybody else with their affluent upbringing. Clive isn’t in the film a lot, but when she is onscreen, it is as though her character is the one that can ground the tension and bring understanding. What is great about Sonia is that she isn’t afraid to speak her mind and doesn’t let herself be put down by the others, especially Archie. The variety of characters is what makes All My Friends Hate Me such an engaging watch as we get to see these eclectic personalities clash.

A personal highlight was the music by Will Lowes and Joe Robbins which elevates the tension and draws on the horror of the film. The music style feels familiar to soundtracks of other modern horrors, but the way it bounces off the comedy in the film works excellently. There are drawn out violin pieces to highlight the isolation that Pete is feeling and the rising paranoia that is building throughout the film.

All My Friends Hate Me does a brilliant job of subverting various tropes associated with British horror. Palmer and Stourton’s script takes the audience on a journey filled with so many twists and turns that we begin to feel Pete’s paranoia and delusion, questioning every action and reaction that takes place. Despite the short running time, All My Friends Hate Me has a lot to discuss in the topics of class and privilege, and manages to do this while ensuring that the characters are fleshed out enough so we are gripped from beginning to end.

What did you think of All My Friends Hate Me? Let me know in the comments below!

All My Friends Hate Me is available to watch in cinemas now!

Categories
Review

Jurassic World: Dominion (2022)

Jurassic World: Dominion is one of the big films to be released this year and concludes the Jurassic World Trilogy. One of the main selling points of this film is that director Colin Trevorrow had managed to bring the original trio (Laura Dern, Sam Neill and Jeff Goldblum) from Jurassic Park back. This was an incredibly smart choice because one of the main issues with the Jurassic World franchise had been a lack of developed characters. Jurassic World: Dominion sees dinosaurs released upon the world while a swarm of genetically modified locusts have been consuming crops globally and threaten the world’s food supply. It’s up to Owen (Chris Pratt) and crew to put a stop to it with the help of Alan Grant (Neill), Ellie Sattler (Dern) and Ian Malcolm (Goldblum).

Directed by Colin Trevorrow who cowrote the screenplay with Emily Carmichael, Jurassic World: Dominion is a film that is full of ideas but it doesn’t know what it is saying. The main plotline that sees the locusts consuming crops all over the world and threatening the food supply is a genuinely interesting concept, but it feels as though it has come from a different film. Although locusts may have existed in the prehistoric era, audiences watch the Jurassic Park and Jurassic World films for dinosaurs and it feels as though there were hardly any scenes including dinosaurs throughout the film’s overly long 2 and a half hour run.

Leading the cast is Chris Pratt as Owen and Bryce Dallas Howard as Claire, who have been working to protect dinosaurs from illegal capture and poaching, whilst also hiding clone Maisie (Isabella Sermon) from those who want her DNA. There is a lot going on in terms of their plotline, but throughout the Jurassic World franchise, we still don’t get to see a lot of character development from either Owen or Claire, which is especially evident when they are in scenes with the original trio. While Pratt and Howard are more than capable actors, it feels as though their characters haven’t been given enough material to deal with and in this climactic final installment, this is more apparent than ever as the audience is gripped by other characters and their stories.

The best performances in the film belong to the returning cast from the original Jurassic Park. Laura Dern, Jeff Goldbum, and Sam Neill return to assist Owen and crew in their bid to prevent a locust outbreak that threatens the food supply. Dern, in particular, is clearly having so much fun in her role and it shows, while Neill and Goldblum are also as charismatic as ever. It was great to see the original trio utilised throughout the film extensively, rather than just being reduced to cameos as their inclusion made the film exciting to watch.

One of the highlights of the film is the music by Michael Giacchino. Giacchino was definitely the best choice to take over from John Williams as he does not try to completely redo the iconic score. Instead, Giacchino brings in elements of Williams’ Jurassic Park soundtrack and uses the music as a thread between the two franchises to showcase the parallels in characters and plot. Even when the film itself does not live up to the expectations, Giacchino ensures that the music is captivating and gripping by using Williams’ original soundtrack as a starting point and going from there.

Jurassic World: Dominion is a film that has way too much going on in terms of the amount of characters involved and various plot lines. However, some of the ideas it poses are genuinely intriguing such as the impact on food supply and how this affects an already vulnerable planet as well as brilliant performances from Neill, Dern and Goldblum. Jurassic World: Dominion relies heavily on the use of nostalgia and it is the scenes and moments that bring in sentimental touches from the original trilogy that prove to be among the best parts of the film.

What did you think of Jurassic World: Dominion? Let me know in the comments below!

Jurassic World: Dominion is available to watch in UK cinemas now!

Categories
Review

Men (2022)

Men is one of most anticipated horror films released this year as it sees Alex Garland back on the big screen as his previous film, Annihilation was a Netflix film. The film follows Harper, a woman who is grieving the recent loss of her husband, James (Paapa Essiedu). She ventures to the small village of Cotson and stays in a large house in order to take some time to herself and heal following her ordeal. As she spends more time in the village and encounters the (predominantly male) locals (all played by Rory Kinnear), everything is not as it seems. The film is a folk horror and feels as though it would fit nicely alongside a double bill of Ben Wheatley’s Kill List.

The film is both written and directed by Alex Garland, and it’s safe to say that this is one of the most original films of the year. While Men may not be flawless throughout, it does pose some intriguing ideas and concepts that are rarely discussed in film, especially the horror genre. The main themes are gender politics and Garland’s use of one actor playing the male residents in the village is a brilliant move as it shows the danger of men’s treatment of women and how connected it is, even though it shows itself in different ways. However, there is no denying that this story may have been better served if it was told from a female perspective, whether that is through a female director or a co-writer. This is because it feels as though there is something missing from the script, especially at the end of the film, and a female perspective may have rounded things off nicely. Garland’s direction is as striking and visceral as always, with a particular focus on anatomy and autonomy. The male body is shown explicitly throughout, while the female body is not, subverting the usual trope that we are accustomed to in film.

Leading the film is Jessie Buckley as Harper, who shows why she is one of the most in-demand actresses working today. What makes Buckley such a fantastic actress is how experimental she is with the roles that she takes. Whether she is starring in something more mainstream such as The Lost Daughter (which earned her an Oscar nomination earlier this year), or something more experimental like Charlie Kaufman’s I’m Thinking of Ending Things, Buckley has a strong presence and is immediately gripping, captivating audiences every time she is onscreen. This is no different in Men as she drives the film onward and showcases plenty of star quality despite the “smallness” of the film’s cast and setting. While the film may suffer in terms of its story and themes, Buckley’s performance is nothing short of phenomenal as she breathes life into the character, providing plenty of depth into Harper and bringing lots of strength into the role.

The supporting cast is very small and is led by Rory Kinnear who takes up most of the space as landlord, Geoffrey and the other Men in the village. Kinnear’s role is to represent men and the various privileges that men have through a variety of characters. Leading these characters is landlord, Geoffrey, who owns the house that Harper is staying in. From the moment he appears, Geoffrey’s privilege is loud and clear as he exudes the tropes associated with the middle and upper classes, while also remaining ignorant of the dangers that befall women on a regular basis. What makes Kinnear so effective in the various roles is how committed he is to each character.

As expected from an Alex Garland film, the cinematography is especially striking. Garland collaborates yet again with Rob Hardy, who makes use of some wonderful shots. The scene where Harper is in the tunnel is simple, yet the way Hardy shoots this and makes use of the contrast between light and shadow is brilliant. Hardy manages to capture the extraordinary in everyday life, while making use of the limited locations. He knows when to make the village seem vast and large, and when to make it feel incredibly claustrophobic.

A key part of any folk horror film is the music and Men is no exception. The score composed by Ben Salisbury and Geoff Barrow not only provides many trademarks associated with folk horror scores, but it actively serves the plot. The scene in which Harper ventures into a tunnel and begins to sing serves as the basis for a choral track that is played throughout the rest of the film to exemplify her inner torment and struggles, especially as her life is in danger. The way the score is edited and mixed in with the film is a masterclass in how to make the score relevant to the plot, while also contributing to the film as a sensory experience.

Men is another example of why Alex Garland is one of the most original filmmakers working in horror. While this film may feel muddled in terms of its discussions and themes, it boasts strong direction and excellent performances, especially from Buckley who shows that she is one of the best actresses working today. It’s a film that deserves more than one viewing because of how detailed every moment is, which could be why it has been receiving so many mixed reviews.

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

Men is available to watch in UK cinemas now!

Categories
Review

Parallel Mothers (2021)

One of the best films to come out of this year’s awards season is Pedro Almodóvar’s latest feature, Parallel Mothers which sees him reunite with Penélope Cruz for the seventh time. The film follows photographer, Janis (Cruz) and her parallel experiences of motherhood with teenage mother, Ana (Milena Smit). What follows is a series of event that are unpredictable as the main characters lives start out the same, but veer off into different directions. Receiving two Oscar nominations for Cruz’s lead performance and Alberto Iglesias’ magnetic score, Parallel Mothers is a film that sees Almodóvar at his best. The film opened the Venice Film Festival where Cruz was awarded the Volpi Cup for Best Actress.

The film is written and directed by Pedro Almodóvar, who showcases yet again how fearless he is as a filmmaker. What Almodóvar does so well is his ability to merge various genres, while also bringing in various layers that make his films so rewarding to watch. In Parallel Mothers, there is an ongoing plot as Janis campaigns for a local mass grave to be excavated as it contains the remains of her great-grandfather and other men who are unlawfully killed during the Spanish Civil War. This fight for freedom and local identity parallels her own struggles to find herself and her place in the world, while also serving as a plot point that drives the film forward.

Undoubtedly the beating heart in the film, Penélope Cruz provides one of 2021’s best performances as Janis. Janis is a successful photographer who lives in a beautiful apartment in the heart of Madrid. When she unexpectedly falls pregnant, her life begins to change and after encountering a teenage mother, Ana, in the hospital, she begins to see that they share more in common than she originally thought. Cruz is absolutely excellent in the film and deservedly won the Volpi Cup for Best Actress at Venice Film Festival for her troubles, as well as receiving an Oscar nomination for Best Leading Actress. Cruz and Almodóvar have proven yet again how well they work together as Cruz is able to bring forth Janis’ complexities and strength.

The role of Ana is equally important as Janis because she serves as Janis’ parallel and counterpart throughout the film. Playing Ana is Milena Smit, a relative newcomer, who does a fantastic job in the role of complex Ana, a teenage mother who struggles in her new role as caregiver. Smit works brilliantly with Cruz as the two share a natural chemistry that makes the characters’ relationship authentic and believable from beginning to end. Throughout the film, we learn more about Ana and the more tragic it becomes in terms of her background. Smit’s performance therefore becomes more rewarding as we can see that sadness and struggle that Ana has been faced with and begin to understand why she makes the decisions that she does.

When it comes to the cinematography, Almodóvar relies on his regular collaborator José Luis Alcaine. What Alcaine does so well is allowing the audience to see the world from the character’s eyes. Janis’ perspective serves as a microcosm for the experiences of motherhood, while also remaining beautiful to look at. One poignant location used throughout the film is Janis’ kitchen. The kitchen is often referred to as the “heart of the home”, and in this instance, it is the “heart of the film” as Janis has many meaningful encounters there. Alcaine makes use of the space by shooting the kitchen from various angles to make it feel claustrophobic in scenes of tension and confrontation, while using wider shots to make it feel more spacious and free when used in scenes of joy and bonding.

One of the best elements of the film is the score composed by Alberto Iglesias. Iglesias was nominated for an Oscar for his work, and it’s easy to see why. Some tracks such as “El visillo volante” feel reminiscent of classic thrillers as the fast strings feel like a quickened heartbeat. What makes the score so effective is that Iglesias knows when to keep the music quiet and subtle in the background and when to allow the music to be loud and drawn out.

What makes Almodóvar one of the best filmmakers working today is his ability to craft beautiful characters, while also bringing in a wider view of the world. In Parallel Mothers, we follow Janis and her struggle to find her own identity, while simultaneously trying to fight for a local mass grave to be dug up that is believed to contain her great-grandfather and others who were killed during the Spanish Civil War. Almodóvar always makes films that are thoughtful and gripping and Parallel Mothers is no exception. It’s a film that doesn’t need all the bells and whistles as Almodóvar allows his actors to bring forth the tension in the script with Cruz providing her best performance in years, and one that I believe she should have won the Oscar for.

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

Categories
Review

Chip ‘n Dale: Rescue Rangers (2022)

Chip ‘n Dale: Rescue Rangers is a film that seems to play on Disney’s desire to bring beloved characters from their history into the modern day. Filled with plenty of nostalgia and meta-jokes, Chip ‘n Dale: Rescue Rangers follows the titular chipmunks as they are reunited after years away from stardom and fame with Chip working in insurance and Dale working the convention circuit in a desire to reboot his career. Filled to brim with familiar characters from Disney and beyond, Chip ‘n Dale: Rescue Rangers is one of the biggest surprises of the year, bringing plenty of laughs and an all-star cast that makes this a must-watch.

The film is directed by Akiva Schaffer with a script written by Dan Gregor and Doug Mand. Schaffer is known for his directing work with the Lonely Island, meaning that he is able to capture Mulaney and Samberg’s humour perfectly. The screenplay is filled with self-conscious jokes and humour that is expected of the Lonely Island, albeit toned down for the younger audience. That being said, there are moments when the film ventures into more mature and darker themes which can feel a little disjointed at times. For the majority of the film, there is a lightheartedness and self-awareness as the chipmunks are forced to live “normal lives” with Chip working in insurance and Dale attending conventions in the hope that he can reignite his career once more. Seeing the difference in animation style between the chipmunks is a funny inclusion as Dale undergoes “surgery” to make him appear CGI in a bid to be more exciting and modern, while Chip maintains his traditional animation style. There are plenty of jokes through the film and enough nostalgia to please audiences of all ages, making this a fun adventure for the family to enjoy.

Leading the cast are John Mulaney and Andy Samberg voicing Chip and Dale, respectively. The latter has worked with Schaffer as a member of the Lonely Island for many years, so it makes sense that Samberg would be picked as his and Schaffer’s humour is similar. This works well for the film as it feels as though Samberg is given more in terms of material and characterisation than Mulaney, although Mulaney makes the best of what he has. It’s undoubtable that Mulaney and Samberg have a great chemistry which it what drives the film and makes it so enjoyable to watch. The scene in which the two rap as a distraction to break into Sweet Pete’s sauna locker is hysterical and showcases the unique brand of humour that the Lonely Island promotes.

One of the major talking points of the film is the character, Sweet Pete. A variation on Disney’s iconic rendition of Peter Pan, Sweet Pete is a middle-aged version who has put on weight and has drinking problems after he is fired from Disney for getting “too old”. Pete now runs an underground bootlegging operation in which he forces former stars to feature in his bootleg films. While this may seem like a comical turn of events for such an iconic character, the appropriateness of Peter’s fate seems to echo that of the original Peter Pan voice actor, Bobby Driscoll, whose life was plagued by drinking and drug problems after Disney let him go when he grew up. Although this plot line seemed to look at the harshness of Disney’s contracts and the way they treated their talent, the way in which this particular character echoes the original voice actor’s fate seems a bit inappropriate, and it’s hard to believe that they weren’t aware of the history since this behavior is exactly what they are alluding to. Luckily, Sweet Pete isn’t in the film as much as anticipated, but it does bring the film into a darker territory that can feel uncomfortable at times and not reflect the same lightheartedness and quality that is present throughout the rest of the film.

Chip ‘n Dale: Rescue Rangers is a film that combines plenty of live action with various styles of animation. It’s tone and genre seems to be in the style of Who Framed Roger Rabbit? and this is evident thanks to the array of homages that Chip ‘n Dale incorporates such as a cameo by Roger Rabbit as well as a moment when Sweet Pete is looking through his torture tools and has a bottle of Dip, which was a substance used in Who Framed Roger Rabbit? to kill the toons. Nowadays, it’s common to see films that combine live action and animation so while Who Framed Roger Rabbit? was innovative and new for its time, Chip ‘n Dale: Rescue Rangers brings in new styles of animation such as CGI which wasn’t available when Roger Rabbit was released. That being said, the various styles of animation can be overwhelming and chaotic at times, especially when there are numerous characters on screen.

While there are elements of the film that venture in darker territory that can feel uncomfortable such as the allusions to drug and alcohol abuse throughout. However, the other content in the film is enjoyable to watch, making it surprisingly entertaining, while the various animation styles used seems to reflect the success of Who Framed Roger Rabbit? 30 years before. Although Chip ‘n Dale: Rescue Rangers may not have the longevity that Who Framed Roger Rabbit? has, it’s still an enjoyable watch from beginning to end, thanks to the lovable performances provided by Andy Samberg and John Mulaney in the titular roles.

What did you think of Chip ‘n Dale: Rescue Rangers? Let me know in the comments below!

Chip ‘n Dale: Rescue Rangers is available to watch on Disney+ now!

Categories
Review

Everything Everywhere All At Once (2022)

One of the most exciting films to be released this year is the Daniels’ Everything Everywhere All At Once. The film follows Evelyn Wang, a woman who has grown unhappy with her life as she has become distant from her husband, Waymond, while her relationship with daughter, Joy (Stephanie Hsu) is at breaking point. When the family’s laundrette business is audited by the IRS, Evelyn learns that she has the ability to jump between multiple universes which range from the fantastical (the kung-fu universe in which she is a movie star) to the bizarre (the hot dog universe where everyone’s fingers are hot dogs). The film is a wonderful conglomerate of various genres and styles and includes some of the funniest plot lines in recent years, especially ‘Racacoonie’ in which a chef (Harry Shum Jr.) who is controlled by a raccoon on top of his head in the style of Ratatouille.

Written and directed by the ‘Daniels’ (the collective name for filmmakers Dan Kwan and Daniel Scheinert), Everything Everywhere All At Once is one of the most original films to be released in recent years thanks to its mix of fantastical elements that are grounded by timely and relevant issues. Serving as a wonderful tribute to Michelle Yeoh’s extensive career while also allowing her to showcase her range as protagonist, Evelyn, Everything Everywhere All At Once is a film that is all about the human experience. The script is incredibly extensive and filled with many pop culture references that is sure to appease all ages. It’s insane to think that this is only the Daniels’ second feature as the film feels so large in its scope and characterisation. Their script in particular is one of the best of the year and is sure to garner awards attention for Original Screenplay as it will be difficult to find a film with more originality and innovation than this.

It is no understatement that Everything Everywhere All At Once is Michelle Yeoh’s film. As the initial inspiration for Evelyn’s character when the Daniels decided to change the protagonist from male to female, Yeoh provides a masterclass in acting in what is one of the most exciting performances of the year. Evelyn is unhappy with the direction her life has gone in and when the IRS begin to audit the family’s laundrette business, things seem to reach a breaking point. What follows is a wonderful homage to Yeoh’s illustrious career as well as allowing her to showcase her brilliant range in a role that is both sweet and fierce at the same time. It’s no surprise that there is a lot of potential Oscar buzz for Yeoh, who controversially was snubbed for her performance in Crouching Tiger, Hidden Dragon. Yeoh has been providing wonderful performances for decades and finally it feels as though she is getting the praise and recognition from Western audiences that she deserves.

Making a comeback to acting after a long hiatus is Ke Huy Quan who stars as Evelyn’s lovable husband, Waymond. What is great about Quan’s performance is that he is also given the chance to showcase a large range as we see him as the quiet Waymond in the current universe which is then contrasted by Alpha Waymond who is far more confident and assertive. Quan took a hiatus between 2004 and 2019 but the way that he grasps the character and manages to convey so much through Waymond, you wouldn’t think that he had been away from the camera. The scenes in which he encounters Evelyn in the movie star universe are particularly wonderful as the Daniels pay tribute to In The Mood For Love and Quan in this universe plays a dramatic version of Waymond in a scene that shows how the characters could have flourished if they didn’t leave China together.

Aside from the stellar leading performances, there are also plenty of supporting turns that are worth talking about. Stephanie Hsu is wonderful as Evelyn’s daughter Joy and the immortal entity Jobu Tupaki who has placed the meaning of life into an everything bagel that has the potential to destroy the multiverse. The role was originally written for Awkwafina who dropped out due to scheduling conflicts and although it would have been great to see her in such a brilliant role, Hsu is equally fantastic and proves to be the perfect choice. The difference between Joy and Jobu Tupaki are visual and internal polar opposite as the former is having to grapple with the possibility that her grandfather may disown her for being gay while also having to deal with the turbulent relationship with her mum that begins to worsen, while the latter is bright and colorful with elaborate costumes and a confidence as she knows everything there is to know. Hsu plays both of these roles perfectly to the point where you do forget that they are being played by the same actress.

Other small supporting roles include Jamie Lee Curtis as Deidre and James Hong as Evelyn’s father who is referred to as Gong Gong (Cantonese for grandfather or father-in-law). Curtis’ performance as Deidre is originally fierce and tough as she is the IRS worker auditing Evelyn’s business while also playing a more tender companion to Evelyn in the hot-dog finger universe in a performance that is adorable and hilarious at the same time. On the other hand, Hong is wonderful as Gong Gong. Although his role isn’t as big, he still maintains a strong presence throughout the film as his influence is felt over the Wang Family.

A film like Everything Everywhere All At Once relies heavily on its cinematography and Larkin Seiple’s work is excellent. Having previously worked with the Daniels on their debut feature, Swiss Army Man, Seiple was the natural choice for their follow-up. What he does really well is bringing out the fantasy and supernatural elements from the initially boring setting of the IRS office. The majority of the film’s main plot takes place in the office but we feel as though we are being transported to an alternative universe and this is thanks to Seiple. The scenes in which Evelyn channels her Kung-Fu universe self is particularly excellent as it pays tribute to Yeoh’s career whilst also being exciting and new.

The music by Son Lux marks one of the most exciting soundtracks of the year. Like the film, Son Lux’s score is relentless and unpredictable, never sitting still as we are catapulted between multiple universes, while still maintaining a consistent thread. In a sense, the music showcases another side to Evelyn’s character and perfectly captures the complexities of her character thanks to its mixture of styles and tones from the whimsical track “Wang Family Portrait” to the incredibly intense “Switch Shoes to the Wrong Foot”. It’s a soundtrack that conveys the emotions of the film brilliantly without overwhelming the visual content.

Everything Everywhere All At Once brings together components of modern cinema but combines it in a way that feels fresh and exciting. Brilliantly unpredictable and fearless in vision and execution, the Daniels have succeeded in making the most original film of the year that will be very hard to beat. It wouldn’t be surprising to see this up for multiple gongs come awards season, especially for its screenplay and Michelle Yeoh’s killer leading performance. The film is a wonderful tribute to Yeoh’s previous career, while also catapulting her to mainstream Western audiences who may be unfamiliar with her filmography.

What did you think of Everything Everywhere All At Once? Let me know in the comments below!

Everything Everywhere All At Once is out in cinemas now!

Categories
Review

Perfect Blue (1997)

There are plenty of iconic anime films that have been released throughout the years. From the fantasy worlds created by visionary Hayao Miyazaki to Mamoru Hosoda’s brilliant coming-of-age stories, anime has always been an excellent medium within film for storytelling. One such pioneer of the medium was the late, great Satoshi Kon whose directorial debut, Perfect Blue was released 25 years ago this year. The film showed that anime is not just for children and made way for anime content that was catered for adults thanks to its gruesome violence, explicit nudity and mature themes. Perfect Blue follows Mima, a young woman wanting to make the transition from pop idol to mature actress. As she begins to take on more adult roles and gives her public image a makeover, Mima’s life starts to unravel as she deals with a stalker who is hellbent on ensuring that she maintains an innocent image.

The film was directed by Satoshi Kon and written by Sadayuki Murai who based the screenplay on Perfect Blue: Complete Metamorphosis by Yoshikazu Takeuchi. Satoshi Kon directed four films before his death in 2010 with Perfect Blue marking his debut and what a debut it is. The film is a complex look into the psyche of protagonist Mima as she begins to lose grip on reality as an imposter threatens to steal her identity. Kon’s unflinching approach has made Perfect Blue a staple, not only in animation, but in the psychological thriller genre as well. It is a visceral look into societal expectations placed on women and how that pressure to conform can have tragic consequences. Murai’s script is fast-paced while also providing plenty of scope for various factors to mesh and contribute to Mima’s eventual mental health deterioration. Kon’s gritty vision helps to list Murai’s words off the page, resulting in a brilliant film that feels both of its time and deeply relevant simultaneously.

Perfect Blue can be defined as a character study into its protagonist, Mima. Junko Iwao voices Mima and does a brilliant job of conveying the trauma and horror that the character has to endure throughout the film. Mima starts the film with a higher pitched tone to convey her innocent image that coincides with her pop idol career, but as the film goes on, her tone and attitude becomes more authentic and real as her life spirals downwards. Iwao perfectly captures the wide spectrum of emotions that Mima feels throughout. Mima is such an intriguing character and Iwao contributes to this. The idea of the pop idol and image is one that is especially monitored in Japan moreso than the majority of countries and seeing the extent of obsession for the fame and attention that Mima has makes for truly frightening viewing.

As with any film, the supporting characters are equally important. In particular, Rica Matsumoto’s contribution as Mima’s agent, Rumi, is brilliant. Rumi is a former pop idol herself and her obsession with Mima and her career shows how she longs for the life that Mima has, but isn’t willing to move on with her own life. Matsumoto’s performance is tinged with hints of longing and sadness throughout as Rumi clearly disapproves of the direction that Mima’s life is going in.

One of the best elements in the film is the music composed by Masahiro Ikumi which elevates the emotions felt by Mima throughout. As Mima begins to become disconnected and suffer from dissociative identity disorder just as her character does on the TV show she is in, the music begins to reflect this as the tracks become more chaotic. The track “Virtua Mima (Voice)” is especially haunting and its repetition drums in the confusion and terror that Mima is feeling. It’s a soundtrack that is essential to the overall film and helps to make the film as iconic as it is.

What makes Perfect Blue so gripping from start to finish is the editing by Harutoshi Ogata. Ogata does a fantastic job with the editing as he frames the film like a live-action psychological thriller featuring quick cuts to highlight the protagonist’s confusion and disconnection from reality. There are also longer scenes that make for uncomfortable viewing such as the scenes in which Mima is filming a scene for a television show in which she is victim of a sexual assault as well as the iconic chase scene that comes later on. The latter example has become synonymous with anime horror and it’s easy to see why. Ogata’s editing of the chase scene is one of the most eerie and frightening scenes without containing a huge amount of violence when compared with the rest of the film.

Perfect Blue has garnered a reputation over the years due to its explicit content and exploration into mature themes, while still remaining a gripping watch that boasts brilliant storytelling. Kon may have only made four films, but each one shows his immense talent as a filmmaker and Perfect Blue is a fearless glimpse into fame and the dangers of being a familiar face among a public that can easily hide. Despite the dated technology used in the film, Perfect Blue feels even more relevant now as social media has become even more commonplace. Not for the faint of heart, Perfect Blue should be on every film lover’s “to watch” list if they have not already watched it before.

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

Categories
Review

X (2022)

A24 have established themselves as mastered of horror over the years and they show no signs of slowing down with the release of X, a film that incorporates elements and homages to traditional slasher films such as The Texas Chain Saw Massacre. The film is set in 1970s Texas and follows the cast and crew of a pornographic film, led by the ferocious leading lady, Maxine (Mia Goth) and her producer boyfriend, Wayne (Martin Henderson). When the group arrive at their barn filming location, it becomes clear that the old couple who own the main house are not quite what they seem and what follows is a slew of gruesome murders and violence galore.

The film is written and directed by Ti West, who has become prolific within the horror world. West definitely has a brilliant eye for direction as X thrives on the distinct vision that beautiful style that serves as a homage to previous Texan horrors, while also subverting the tropes associated with such films. Protagonist Maxine is the perfect example of this as she is unashamed in her sexuality, while also displaying a fearless attitude, a polar opposite description of many female horror protagonists that have come before her. The biggest trope that West seeks to explore is the morality of sexuality. For decades in horror, sex has equated to death for many characters, namely in horror franchises such as Friday the 13th which is full of young people who are slain, typically after engaging in sexual activity. West uses X as a means to discuss this topic and question whether sexuality is morally wrong and what that means. West is undoubtedly an extremely talented writer and has a brilliant way of blending different types of personalities in a natural and engaging way. However, with X, the downside is in the motivation of the film’s villains as it isn’t delved into that much, and what information we are given doesn’t seem to be believable or understandable considering what actions they commit throughout the film. It is such a shame as providing a better backstory with more meaning behind the old couple would bring X to the level of other modern horror masterpieces such as Jordan Peele’s genre-defining Get Out.

With such a heavy emphasis on its lead character, Maxine, it was imperative that West cast an actor who is more than capable of pulling off a layered performance with ease. Mia Goth is the perfect choice, as she has been an integral part of the horror genre for years with supporting turns in films like Gore Verbinski’s A Cure For Wellness, Luca Guadagnino’s remake of Suspiria, and Clare Denis’ High Life. What makes Goth such a brilliant actress is her ability to adapt to any role. Although she has become a staple in horror specifically, the films themselves could not be any more different in terms of characterisation and style. In X, Goth is able to further showcase her range as aspiring pornstar, Maxine. Maxine believes that she is destined for fame and fortune and is willing yo do whatever it takes to get there. Goth is nothing short of phenomenal, and even with the shortcomings of the script, the audience still wants Maxine to succeed in thwarting the killer’s plans and wants her to stop them. X gives Goth the leading role that she deserves after years of being placed in support and it is a credit to her talent and range that she has been able to breathe life in such a fantastic character that has plenty of agency.

While this is definitely Mia Goth’s film, X also boasts an incredibly impressive cast with Brittany Snow and Scott Mescudi in particular providing excellent turns as pornstars, Bobby-Lynne and Jackson. Both make use of the time they have onscreen and West relies on Snow’s beautiful vocal talents as she provides a great rendition of Fleetwood Mac’s “Landslide” in a scene that brings unity and peace for the group before tragedy unknowingly befalls them. Mescudi is charismatic as Jackson and has one of the most intense scenes in the film as he helps Howard (Stephen Ure) look for the latter’s wife, Pearl.

One of the film’s strongest elements is the cinemtography by Eliot Rockett. Inspired by porn films and slasher films of the 1970s, Rockett brilliantly incorporates vintage style filming when it comes to shooting the pornographic scenes. It brings a layer of authenticity and allows the audience to feel immersed in the world that West has created. The heavy use of blood is also contrasted with the minimal, natural landscape that surrounds the barn and the use of minimal locations allows Rockett to create that feeling of claustrophobia and entrapment for the audience.

X is certainly innovative and distinctive in its style and characterisation, but at times this comes at the cost of the plot and villain motivations which doesn’t come across clear or believable. However, it cannot be denied that Mia Goth is an absolute tour de force and is truly one of the best actors working in the horror genre. Showing her ability to lead a film and keep the viewer gripped, Goth’s performance is filled with grit, fearlessness and a depth that has come to define the roles she plays.

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