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Review

Nashville (1975)

You know that feeling when you watch a film and it resonates so deeply that you find yourself watching it again almost immediately after the end credits roll? That was my experience watching Robert Altman’s masterpiece, Nashville.

“This isn’t Dallas, it’s Nashville!”

Set in the titular city, the film follows the lives of 24 people who are involved in Nashville’s music and political scene as the omniscient Hal Phillip Walker (voiced by Thomas Hal Phillips) campaigns for the fictitious Replacement Party. Made in what is now viewed as one of the best years in cinema history, Nashville showcases an incredibly vast yet meticulous microcosm of contemporary American life during a time of political and social conflict.

Robert Altman is regarded as one of cinemas greatest visionaries and Nashville is often used as reference to support this statement. His documentation approach acts as a doorway for the audience to grasp the hysteria and buzz without ever feeling alienated. Jean Tewkesbury’s phenomenal script feels so natural, weaving from one scene to the next with an effortless ease that despite the large ensemble, never feels exhausting. This is a film where so much happens and yet, it seems as if nothing happens at all because it is a true slice of everyday life.

One of things that makes Nashville so unique is that it has 24 fully-realised characters. Some characters are more prominent throughout the film than others, but the richness in each performance makes it even better with every watch. Ronee Blakley’s turn as vulnerable country singer, Barbara Jean, shows a darker side to the entertainment industry as she is treated like a commodity by those around her. We see her mental fragility waver and spiral, culminating in a scene that shows a conflict of identity as Barbara disrupts her own gig to regale memories of her upbringing and the passion she had for music as a child. In this heart-breaking scene, we see the “real” Barbara Jean trying to surface and literally have a voice, but this is quashed by the heckling audience who want to see country music’s sweetheart with her manufactured public image.

My favourite scene in the film takes place during an open mic night where we see folk trio Bill, Mary and Tom (Allan F. Nicholls, Cristina Raines, and Carradine) perform “Since You’ve Gone”, a song that perfectly captures the underlying tension between Tom and Mary, the latter being heartbroken by the former. The frustration and anger in Raines’ performance compared with Carradine’s neutral demeanor displays the emotional investment each had in their brief affair, all while Bill (who is Mary’s husband) plays on, clearly sensing the friction between his bandmates. This is swiftly followed by Tom’s Oscar-winning song, “I’m Easy”, which is a crooning ballad he wrote just to get the married gospel singer Linnea (Lily Tomlin) to sleep with him.

So, what is it about a film so intrinsically observational on American life that resonates with this Scouse-Welsh (Scwelsh?) blogger who has never even been to the capital of country music? Despite the film’s specific time and place, the themes and messages are universal. We know vulnerable people like Barbara Jean, dreamers like the heartbreakingly talentless yet determined Sueleen Gay, and straight shooters like Wade who are disillusioned by the glitz, glamour and promise. It’s the naturalistic storytelling that makes Nashville such a pioneering piece of filmmaking and one that has stood the test of time for better and for worse. Seemingly set in its own universe, the ties to reality are planted with anecdotes on the Kennedy assassination (Barbara Harris delivering an exquisite monologue), and the Vietnam War.

Nashville is arguably the quintessential American film, capturing the aspiration and downfalls of the American Dream and one’s battle to succeed. Universally, it is a poignant display of the human condition and everyone should watch Nashville at least once in their life. It’ll make you laugh and cry in equal measure while also bamboozling you in its unflinching ambition. Altman’s seminal masterpiece has certainly earned its place among the echelon of filmmaking.

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Review

Oppenheimer (2023)

Cillian Murphy as J. Robert Oppenheimer in OPPENHEIMER, written and directed by Christopher Nolan

The Best Picture favourite going into awards season is none other than Chrostopher Nolan’s nuclear epic, Oppenheimer. Spanning the life and career of Robert J. Oppenheimer, the “Father of the Atomic Bomb”. Starring Cillian Murphy in the titular role, Oppenheimer is a three-hour insight into the work and personal life of one of the most controversial figures in modern history.

Written and directed by Christopher Nolan, Oppenheimer is based on the biography, American Prometheus by Kai Bird and Martin J. Sherwin. Nolan’s unique perspective stemmed from the writing process as the entire screenplay is written from the first-person. This exacerbates the fact that Oppenheimer provides a limited view as the titular character is in almost every scene. The film flits between key points in Oppenheimer’s life spanning his beginnings as a budding physicist to the aftermath of the nuclear bombings on Hiroshima and Nagasaki. Nolan’s direction feels controlled and focused, his passion for the project coming through in every frame.

As the titular character, it can be argued that Oppenheimer lives or dies from the Cillian Murphy performance. Murphy can always be trusted to bring a nuanced performance. His turn as Oppenheimer is so intimate and yet always holding the audience at a distance. Seeing his internal conflict between the scientific achievements and the ethics rise to the surface in the final act is gripping. The scene in which Hiroshima has been been bombed and Oppenheimer begins to envision corpses on the follow among the ruptuous applause from his colleagues is one of the best scenes in any Nolan film.

Providing a standout performance in support is Robert Downey Jr. Having dominated cinema screens for the past decade as Iron Man in Marvel Cinematic Universe, Oppenheimer may be the first project a lot of people have seen Downey Jr outside of the franchise. The performances couldn’t be more different and sees Downey Jr return to form. Playing the antagonistic Rear Admiral Lewis Strauss who is hellbent on taking Oppenheimer down, he commands every scene he is in. His scenes with Murphy are among the best in the film and it’s up there with his other phenomenal turns in films such as Chaplin and Tropic Thunder.

Cillian Murphy is J. Robert Oppenheimer in OPPENHEIMER, written, produced, and directed by Christopher Nolan.

There are a plethora of supporting turns in the film that are impressive. Another that is garnering a lot of attention is Emily Blunt as Katherine “Kitty” Oppenheimer. One consistent critique of Nolan’s previous films are the lack of female characters. When there are female characters, they tend to be underwritten. Kitty is probably the most in-depth female character that Nolan had included in his filmography. Blunt’s performance is subtle and brilliant, especially towards the end when her anger at the government is evident following their dismissal of her husband.

The score by Ludwig Gorrenson captures in the inevitability of the bomb. Filled with dramatic crescendo and loud bombastic sounds, Gorrenson’s music becomes a dominant force during the film’s climactic scenes. The opening track “Fission” really highlights the anticipation and inevitable change in history. Gorrenson isn’t afraid to change the tone and pacing of tracks to emphasise the unpredictability and shift in dynamics and events.

The cinematography by Hoyte van Hoytema is stunning. The standout scene in the film is when the Trinity Test is carried out and this is thanks to van Hoytema’s incredible work. The focus on Oppenheimer as he waits for the results swiftly followed by blinding light marks a visual change in the film. The scenery in Oppenheimer consists largely of open spaces but there is such a pinpointed focus on the characters that it really closes the environment in towards Murphy and his performance.

Overall, Oppenheimer does have a runtime that could have been edited down ever so slightly, especially in the first act. However, it is also one of Nolan’s best films as director. His passion and knowledge on its subject piercing through every frame from beginning to end. It is a film filled to the brim with details and nuanced performances that makes it easy to see why it is garnering so much critical and commercial praise.

What did you think of Oppenheimer? 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

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

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!

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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!

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Review

Red Rocket (2021)

One of the most anticipated films to come out of last year’s Cannes Film Festival was Sean Baker’s latest feature, Red Rocket. The film follows Mikey Davies (Simon Rex), who has returned to his hometown of Texas City after his career in the porn industry has come to a standstill. When he meets 17-year-old Strawberry (Suzanna Son), at a local donut shop where she works, Mikey is determined to groom her into becoming the next big name in porn. Red Rocket received a standing ovation at Cannes and became a critical and commercial success as expected from Baker’s films, while establishing Baker as a true visionary who seeks to place the spotlight on outcasts and their stories, especially those who work in the sex industry. From the opening credits that show off the industrial background while NSYNC’s track “Bye Bye Bye” plays to the closing shot of Strawberry in the bikini in her doorway, Red Rocket is another brilliant entry in Baker’s filmography.

The film is directed by Sean Baker who cowrote the screenplay with writing partner, Chris Bergoch. As expected from Sean Baker’s films, Red Rocket sheds life on another perspective within the sex industry as Mikey is a former porn star who tries to settle down into “normal” life and struggles when potential employers learn of his previous profession. Like his other projects, Baker’s focus is on a select few characters and explores Mikey and Strawberry as the former has been involved in the porn industry for years before while the latter is toying with the idea of entering the industry. The film is far grittier and has even darker undertones than Tangerine and The Florida Project thanks to the controversial age gap that had many critics and moviegoers talking about as Mikey is in his 40s while Strawberry is only 17 and still in high school. However, Baker and Bergoch do not glorify Mikey or his actions, which is clear from the get-go as he turns up at his ex-wife’s house broke and bruised.

Simon Rex leads the cast as former porn star, Mikey Davies who has returned home to Texas following the downfall of his career. Providing one of the most uncomfortable yet brilliant performances of the year, Rex’s turn as Mikey has many layers that can be interpreted in different ways depending on the viewer. On the surface, he seems excited and optimistic about the future, especially after his encounter with high school senior, Strawberry, and the prospect that she could be the next big thing in the porn industry. On the other hand, Mikey’s actions can be construed as manipulative and deceptive as he will do anything to get what he wants in an extremely controlling manner. Once his gaze is fixated on Strawberry, he does everything he can to control each aspect of her life beginning with the breakup of her relationship with her high school boyfriend through to convincing her that the porn industry is the right path for her. Mikey is a deeply disturbing and flawed character, but this is what makes the film captivating to watch and it’s thanks to Rex’s fearless approach to the character. It’s no surprise that Rex won an Independent Spirit Award for his troubles.

It’s always exciting when an actor seems to breakthrough out of nowhere and one of this year’s big breakouts is Suzanna Son who is magnetic as high schooler, Strawberry. Strawberry’s character is the catalyst for the events that happen in the film as her encounter with Mikey inspires the latter to pursue a career as a talent scout in the porn industry. Red Rocket has garnered controversy due to the aforementioned age gap, but on watching the film, Mikey’s position as a controlling manipulator is evident as he puts himself in the centre of Strawberry’s life to groom her into entering the porn industry. This means that she doesn’t really have a say, even if it may seem like she does. Son fills Strawberry with plenty of ambition and dreams that seem to be bigger than the small town she lives in.

The cinematography is provided by Drew Daniels who manages to find the magic in the Texan setting. The opening shot sees Mikey return to Texas City and the industrial influence is clear as the bus makes its way past a slew of power plants. Mikey’s ex-wife’s house is by contrast, a small patch of green that sits near to these power plants, while Strawberry lives in a small town nearby that is far away from the power plants and has a beautiful lake at the bottom of her back garden. Despite the limited locations that have become signature in Sean Baker’s films, Daniels manages to show the contrast between Mikey and Strawberry’s backgrounds simply from the environments where they live.

Red Rocket will definitely prove to be uncomfortable viewing for some thanks to the large age gap between the two main characters, but Baker doesn’t necessarily glorify the age gap as Mikey is clearly a flawed and charismatic individual who has a penchant for controlling and manipulating those around him. While the film may not be on the same level as Baker’s previous effort, The Florida Project, Red Rocket is another worthy addition to his filmography and proof of his ability to tell stories that are often overlooked or ignored.

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

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Review

Ali & Ava (2021)

British cinema is at its best when it is able to truly capture the plight of the working class. Clio Barnard’s newest film, Ali & Ava, premiered at Cannes Film Festival in 2021 and has been well received by critics and audiences alike thanks to its universal story. The film is set in Bradford and follows the titular protagonists (Adeel Akhtar and Claire Rushbrook, respectively) as they meet, and their relationship develops. Both characters have received judgement and prejudice for different reasons as Ali faces racism while Ava lives in a poorer area of town. Together, the pair find that they share a lot in common such as a passion for music and this blossoms into a relationship that develops concern from the family and friends of both parties. On top of this, the film also explores emotional challenges as Ava has to overcome the trauma of her last relationship as her deceased husband was abusive. With Akhtar and Rushbrook bringing profound performances that perfectly capture the working class experience, Ali & Ava is an uplifting tale of love.

The film is written and directed by Clio Barnard, who has managed to bring forth the complexities that come with everyday life, by interweaving brilliant characters. The plot may seem pretty simple on the surface as the two protagonists meet and fall in love, facing plenty of prejudice from their friends and family, and learning how to thrive in the face of these protests. Barnard has done a flawless job of getting to the heart of her characters and really delving deep into their development and characterisation, so we are able to truly understand Ali and Ava’s decisions. The way that Barnard captures Bradford makes it feel as though it is based in its own universe and shows that there is more to people than originally perceived.

Adeel Akhtar is fantastic as local landlord, Ali as he provides a grounded performance that has so many layers. To say that he deserves his BAFTA nomination is an understatement, as it feels as though his performance – and the film overall – has been overlooked by awarding bodies outside the UK. Ali is a person who loves music and is always doing his best to please the people in his life. When he meets Ava, it is evident that this is the first time in a while when he is able to put himself first. Akhtar brings forth Ali’s passion for life as well as the complexities that come with it. It’s an intelligent performance that becomes more resonant as the film goes on. Akhtar’s chemistry with Rushbrook is undeniable and the two of them complement each other perfectly. The scene in which they are both listening to their music is extremely beautiful, as they are sharing the same experience through a different song, which is reflective of how their lives have crossed from travelling down different paths. Akhtar’s performance is nothing short of charismatic and magnetic, while also ensuring that there is sincerity in the character, even in the lighter moments.

Playing Ava is Claire Rushbrook who does a brilliant job of delving into the character’s complicated story. Ava’s path is very different from Ali’s as her struggles have come from inside the home. She is a working class mother who endured abuse from her husband for many years before his death. Not only does Ava have to put up with the racist opinions from those in her family, but she clearly struggles to let her guard down and open her heart to another man following her trauma. It’s a shame that Rushbrook isn’t receiving award recognition for her performance. While Akhtar’s fantastic performance is more extroverted, Rushbrook’s is more subtle in that her revelations and development occur later on in the film, while also showcasing the pressures that are put on her as a mother, a friend, and a teaching assistant.

The cinematography is provided by Ole Bratt Birkeland who does a brilliant job of showcasing the magic within Bradford and the many places it is home to. The characters live in the same city but come from different walks of life and this is captured in Birkeland’s cinematography as we venture into the lovely built-up areas near the centre where Ali lives that is known to have a large South Asian community, while contrasting this with the rural working class community on the city’s outskirts where Ava lives. Bradford works as a visual microcosm that has an abundance of different communities within it and Birkeland does a brilliant job of ensuring that the film doesn’t feel claustrophobic in terms of location. The way that Birkeland heavily focuses on characters during scenes of tension is fantastic as we are able to see every movement that the actors make. The scene in which Ava’s son, Callum (Shaun Thomas), confronts his mother and Ali at a local bonfire ventures into thriller territory thanks to the unpredictability and the sharp focus that Birkeland has on the characters.

Ali & Ava is a film that feels so timely and timeless at the same time. It is a film that doesn’t need bells and whistles in its production and is proof that having a wonderful visionary at the helm with stellar performances can draw out the magic and complexity from a plot that may seem simple at first. Akhtar and Rushbrook are a fantastic team and the way that they develop the characters and showcase the lows and highs of the relationship is nuanced and resonant. Barnard’s modern day Romeo and Juliet may not have the grandeur that is expected of such a love story, but Ali & Ava is a beautiful take on the human experience.

What did you think of Ali & Ava? Let me know in the comments below!

Ali & Ava is available to view in cinemas now!