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I Care a Lot (2020)

Another film that reigned victorious was J Blakeson’s dark comedy I Care a Lot. Winning Rosamund Pike the Golden Glibe for Lead Actress in a Musical or Comedy. The film follows con artist Marla (Pike) who acts as a legal guardian for the rich and elderly in order to drain them off their funds and fill her own pockets. Directed and written by Blakeson, I Care a Lot boasts pitch black comedy that may not be to everyone’s taste but its interweaving with other genres such as thriller makes it both gripping and unpredictable. With past films including 2009’s The Disappearance of Alice Creed, Blakeson is clearly a filmmaker who wants to push boundaries and discuss topics that a lot of filmmakers don’t dare say. I Care a Lot in particular is a satirical look not only in the health care legal system in the US but also the hunger and greed to achieve the American Dream and what some people will do to others in order to make money. Filled from wall to wall with horrible characters with even worse motives, this film will keep you on your toes from the first scene.

Marking Rosamund Pike’s best performance since her brilliant turn since David Fincher’s 2014 film Gone Girl. Marla Grayson is one of the most despicable characters I have ever come across. A lot of critics have commented how they couldn’t enjoy the film because Marla is impossible to relate to but I think this is the mark of a brilliant character and works in the film’s favour. Relating to a character is a traditional way of allowing the audience to feel at ease but this film does not want you to feel uncomfortable. Everything Marla does is to serve herself as she rids her wards of their freedom and self-respect. This isn’t easy to watch but the pitch black dark tone has an ironic twist where the audience is left watching and wondering if Marla’s plan will prevail in the end. It would be great to see Pike receive even more award nominations following her win although the Oscars tend to favour dramatic performances over comedy but Pike definitely deserves it.

Peter Dinklage is perfectly cast as gangster, Roman, who stops at nothing to have his mother released from the care home and out of Marla’s guardianship. Working as the polar opposite to Marla, Roman is a member of the Russian mafia and yet his motivation is perfectly understandable as he knows that his mother does not need to be in a care home. Where Marla is menacing and calculating, Roman doesn’t hide his own power. It’s great seeing Dinklage play such a dark role and it shows how adventurous he has been with his role selection since Game of Thrones ended. The scene in which Roman confronts Marla is fantastically written and directed and really shows the similarities between the two and how their greed overtakes everything.

A film rich in its supporting cast as well, the performances by Eiza González as Marla’s partner, Fran and Dianne Wiest as Jennifer Peterson, a rich elderly woman who proves to be hugely problematic when Marla targets her due to her connections to the Russian mafia that her son is prominent in. What is great about this film is how the female characters don’t have to explain why they do what they do. A lot of critics have commented on how despicable the plot is because of how the elderly are manipulated but it is important to note that there are decades of films made of a similar nature where men pull the strings and no one bats an eyelid. It’s about time we have a film filled to the brim with female characters that we’re not supposed to fall in love with or are overtly sexualized.

A real highlight of this film was the music by Marc Canham. A frequent collaborator of Blakeson’s, Canham’s score is fantastic and really underlays the unpredictable nature of the film. Using a variety of different music styles, there are many scenes in which the music is the star as it creates that intensity. The track that was my personal favourite was during the scene in which Marla has to escape a sinking car. With hints of the Goblins’ music for Suspiria, it brings in the thriller and horror of the story as Marla fights for survival. The simplicity of the shot mixed with the intensity of the music creates a moment that will leave you breathless and stunned.

Overall, I Care a Lot was extremely enjoyable with Pike providing another stellar performance. Due to its controversial subject and unconventional tone, it’s unlikely to garner a lot of nominations and accolades but it would be great to see Pike at least recognised and nominated for her performance. Blakeson has clearly made a name for himself on the world stage and it’ll be exciting to see where his career takes him next.

What did you think of I Care a Lot? Let me know in the comments below!

I Care a Lot is available to watch on Amazon Prime now!

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Top 5 Carey Mulligan Performances

One of the best actresses working today, Oscar nominee Carey Mulligan is a brilliant talent who can excel in any genre of film. Her latest venture as unconventional vigilante Cassie in the fantastic Promising Young Woman has made waves and is very likely to bring her another slew of award wins and nominations. She can also be seen in the Netflix drama The Dig which further cements her place as Hollywood royalty (you can read my review for The Dig here). Having worked with a variety of auteur directors and mainstream directors, Mulligan is one of the most versatile actresses working today. Having played strong women for her whole career, Mulligan has an effortless flair where she is able to tap into her characters and really dig deep.

As Mulligan’s star has only proven to rise and rise, it’s clear that she is at the very top of her game and with that in mind, I wanted to celebrate her incredible career by looking back at my top 5 performances. Just these choice alone show her range and ability to adapt to both leading and supporting roles with ease.

Here are the top 5 Carey Mulligan performances in chronological order:

An Education (2009)

Mulligan’s breakthrough as a lead in Lone Scherfig’s stellar coming of age drama, An Education. Set in the 1960s with the script written by Nick Hornby, Mulligan plays Jenny, a 16 year old school girl with aspirations to go to Oxford University who is seduced by an older man (Peter Sarsgaard) and her life quickly veers off track. Mulligan quickly gathered global acclaim for her performance as intelligent and naive Jenny winning her the BAFTA for Leading Actress and receiving a slew of nominations at the major awards show including an Academy Award nomination. Personally, I think she should have won for her performance but hopefully we will see her victorious. Her performance is tremendously layered and contrasted as Jenny is clearly a strong and capable young woman but at the end of the day she is still a teenager and is misguided by the adults around her.

Never Let Me Go (2010)

A film often overlooked but has long been a favourite of mine, Never Let Me Go is a beautiful adaptation of Kazuo Ishiguro’s best selling novel. Directed by Mark Romanek and a script written by Ex Machina director Alex Garland, Mulligan shines as lead character Kathy H. Following a group of children who are raised to be “donors”, giving their vital organs for operations when grown, Never Let Me Go shows the human side to these characters whom society doesn’t deem worthy. Having loved her friend Tommy D (Andrew Garfield) since they were in school and watching him and her best friend, Ruth C (Keira Knightley) get in a relationship, we see how Kathy’s life seems to be shunned to the side by her friends as well as society. We see the world through Kathy H’s eyes and through Mullugan’s performance, we invest and see the film as a drama over a dystopian story.

Drive (2011)

2011 saw a double bill of phenomenal supporting performances by Mulligan with the first being her turn as Irene in Nicolas Winding Refn’s Drive. When it comes to this film, the mind immediately goes to Ryan Gosling as the lead character but among all of the absurdity and violence that occurs in this film, it’s Mulligan’s performance that grounds the film and exposes the emotional attachment that the lead character has in the film. Living next door to The Driver (Gosling), Irene lives with her young son and a relationship between her and The Driver quickly develops. However, when Irene’s husband is released from prison, problems unfold. Mullugan isn’t in the film a lot but she works with what she has to ensure that her presence is felt throughout the film, especially when her safety is at risk.

Shame (2011)

The next selection is the second supporting role that Mulligan had in 2011. If you are a regular reader then you know how I absolutely love Steve McQueen’s films (read my McQueen ranking here) and Mulligan is perfectly cast as Sissy, sister of protagonist Brandon (Michael Fassbender). The film revolves around sex addict Brandon who finds his addiction getting worse and out of control. His life is turned upside down when Sissy arrives unexpectedly at his apartment with nowhere else to go. Both siblings have their troubles as Sissy struggles with self harm and depression but she is hopeful that the two can help each other get over their problems. Shame is not an easy film to watch and it is extremely explicit with the issues discussed but the direction and performances showcase the range and talent. Mulligan is a supporting role but her performance is just as important to the film as Fassbender’s. It is thanks to Sissy’s character that we really see the conflict in Brandon laid bare for the audience to see.

Promising Young Woman (2020)

Probably the most fearless role Mulligan has done, Promising Young Woman deserves all of the acclaim that it has and more. I have written a full review which you can read here. Needless to say that Mulligan will no doubt receive an array of award nominations and hopefully win as well. Her performance as Cassie, a young woman who’s future was ripped away after her best friend was raped and committed suicide, is heart breaking and terrifying, showing how far one will go to right the wrongs.

There are even more performances I could have included in this list but the ones I have selected really showcase Mulligan’s range in terms of screen time and genre. The consistent thread with all of her performances is that she always makes the most whether she is the protagonist or has a smaller role. Mulligan is an actress who adapts an intellectual approach and clearly delves deep into her characters and with Promising Young Woman, it feels like she has cemented herself as a strong leading woman to the masses.

What is your favourite performance by Carey Mullugan? Let me know in the comments below!

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Malcolm and Marie (2021)

One of the most hyped films to be filmed and released made in lockdown, Malcolm and Marie is a minimalist exploration of one couple’s relationship as they descend into an evening of real time arguments.

This Netflix film stars John David Washington and Zendaya as the titular characters and starts with the couple returning home after Malcolm’s film premiere. It soon emerges that he has forgotten to thank Marie in his speech and the night transitions from one argument to the next spanning conversations on their relationship their backstory and the film industry as a whole. Written and directed by Euphoria creator Sam Levinson, Malcolm and Marie has become a huge topic of discussion thanks to the polarising opinions shared by critics and audiences alike with some people loving the film and others disliking it.

One of the most controversial factors that has been discussed and debated is the script. Some people have claimed that Levinson uses the actors as a mouthpiece for his own opinions on the film industry. I am not sure whether I agree with this sentiment or not but I do find the script overwritten at times. As the film plays out in real time and brings a minimalistic and realistic approach to the portrayal of the relationship, the script feels disingenuous at times. There comes a point where it feels as though the monologues become soliloquy as the characters seem to ramble off on tangents that completely detract from the focus of the film. Even if this is the intent, it does feel unnecessary and it’s important to bear in mind that writing for the screen is a different medium to real life conversations so making sure you edit the conversations will make everything tighter and more cohesive.

Levinson’s direction makes good use of the limited location space. Solely taking place in the house and grounds, we get to know the space and feel the claustrophobia that Marie, in particular, feels at the hands of Malcolm. Despite the limited resources due to the pandemic, Lenvinson becomes creative with his shots and way of filming and creates a film that has a lot of aesthetic intuition and beauty. When you consider the conditions in which the film was made and the restrictions enforced meaning a smaller crew and limited space, it’s a big achievement that Levinson manages to create an visual impact. The choice to shoot in black and white was also a smart choice as it makes the space feel separated from reality.

Zendaya is great as Marie and proves that she can really shine on the big screen as well as the small screen. After her Emmy-winning turn in Levinson’s Euphoria, it makes sense that the two would collaborate. Marie is not afraid to call out Malcolm for his destructive and abusive behaviour, questioning whether his filmmaking would be as good if she wasn’t in his life. As the film goes on, we begin to see just how much Marie brings to Malcolm’s life. With her words, she breaks down everything Malcolm is to the point where every word and action he has made and is able to assert herself when Malcolm tries to dismiss her as nothing more than another person in his life.

Upcoming star John David Washington stars as Malcolm in a role that feels a bit wasted of Washington’s talents. It feels as though all the energy was put into Marie and her development whereas Malcolm’s character doesn’t feel as elevated or explored to the same extent. I think that a lot of my issues with the script lie with Malcolm’s monologues more than Marie’s because his point of view is littered with exposition. I understand that with the limited location and filming resource that backstory has to be shown through the dialogue but Malcolm is a character that feels a bit too over the top. It gets to the point where he becomes a caricature and it’s easy to switch off when he is taking because he rambles on. Washington does the best with the script but unfortunately the character doesn’t grab your attention in the way that Marie does.

The music by Labrinth is beautiful with hints of Jazz and RnB. Following his Emmy-winning music for Levinson’s Euphoria, his distinct and brilliant sound that fits in perfectly and becomes synonymous with the aesthetic of the film. Just as the house is full of character, so is the music. Perfectly blending different genres to show the clash between the protagonists’ points of view, the score and soundtrack is unique and keeps the film running smoothly even when the script becomes overbearing at times.

Overall, Malcolm and Marie deserves credit for its innovative filmmaking and achieves a lot despite the limited resources, cast and crew. With only two characters in the whole film, Levinson manages to make this minimalist film look visually stunning and delves into their characters in such a way that is rarely done. The writing is it’s weakest area but the scenes in which the dialogue is tight, the actors are able to really shine, especially Zendaya who is phenomenal and proves herself to be one of the new Hollywood leading ladies for a reason. Malcolm and Marie is worth a watch for its interesting approach as well as its incredible soundtrack.

What did you think of Malcolm and Marie? Let me know in the comments below!

Malcolm and Marie is available to watch on Netflix now!

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The Dig (2021)

As awards season lingers on the horizon, more and more films are being released with the hopes that they will be successful come trophy time. One such film that has snuck onto the scene and made a big impact is Simon Stone’s period drama The Dig. Based on the 2007 novel of the same name by John Preston with a script written by Moira Buffini, The Dig follows the 1939 excavation at Sutton Hoo which is often regarded as one of the most significant excavations in history. Taking place on land owned by Edith Pretty (Carey Mulligan) and with a team led by archaeologist Basil Brown (Ralph Fiennes), the discovery of an Anglo-Saxon ship filled with gold and other precious items brings hope to the community contrasting with the context that Britain will soon be at war.

Stone’s direction is beautiful and poetic, making the most of the natural landscape that encapsulates the film. Immersing itself in the surrounding countryside, we never really leave the estate grounds with the exception of Pretty visiting a doctor in the city and Brown going home. Just as the group’s obsession with their findings begins to physically and emotionally change the land, the audience becomes equally familiarised as we see the progression of their work. Stone isn’t interested in the actual treasures found but the people who find them and how they are changed by their experience.

The script written by Moira Buffini takes a while to find its feet but once it is grounded, it begins to flow nicely. The first 20 minutes see a lot of seemingly significant events that lead up to the initial discovery of the ship without really getting to know the characters. However, it is actually through excavating the ship that we see the characters challenged and tested beyond their capabilities. There has been some controversy regarding the portrayal of the female characters which is worth noting. At the time of the film’s events, Edith Pretty was around 56 years old whereas Mulligan is two decades younger. However, I am glad that they didn’t attempt to make her look older through make up as that would have been too distracting. The main issue is with the characterisation of archaeologist Peggy Piggott (Lily James). Piggott is portrayed as clumsy and aloof with no real expertise of archeology, however, she was a respected member of the archeology community at the time of the film’s events. I am not sure why the decision was made to make Peggy like this or why a fictional love affair was written in but it would have been better if Buffini had stuck to a more factual portrayal.

Ralph Fiennes is fantastic as excavater Basil Brown. A quiet and observant man, Brown is clearly passionate about his work and although he does fight for better pay, it is clear that he does not request a huge financial reward for his findings. As can be expected, Fiennes is brilliant and the film is lifted on his shoulders. His performance stops the film from becoming generic and boring as his character is the audience’s way in to this world of affluence and exclusivity. Whereas the curators who work in the museums only care about the treasure and getting the credit and profit, Brown wants to ensure the integrity of the excavation process itself. Coming from humble beginnings and trained by his own father, archeology and excavation is something that Brown had an incredible affinity for. Even though Fiennes isn’t onscreen a lot of the time, especially in the second half of the film, his presence is always felt because of the influence he had over finding the ship.

It’s clear that this is Carey Mulligan’s time to really shine as she delivers a wonderful performance as Edith Pretty. Although Pretty was two decades Mulligan’s senior at the time of the film’s events, Mulligan makes the most of the role and really shows Pretty’s struggle in a way that feels completely believable. Within moments, you forget about the age indiscrepancy. Through the duration of the film, it becomes clear that Pretty is suffering from an unknown illness that can cause issues with her heart should she find herself in overwhelmingly stressful situations. As the excavation begins to unearth the treasures in the land, Pretty’s illness becomes more severe and debilitating as though she is part of the land herself. I would have loved to have seen even more scenes with Pretty in her role as a landowner and the pressures she faced from the museum curators but Mulligan still pulls it off. Naturally she is garnering more attention for Promising Young Woman which is by far her standout performance and career best but her turn in The Dig is not one to be missed.

The score by Stefan Gregory is impeccable and provides a beautiful and classic backdrop to the film. Not overshadowing the onscreen activity, the score is subtle and quiet but once you notice it, you can’t help but pay completely attention to it. Simple and peaceful, the score captures the serenity that the countryside brings despite the war that is looming in the distance. The final scene in which we see Brown and his team filling the mound feels more prominent thanks to the reflective music that highlights the trials and tribulations of the excavation.

Filled with a flurry of familiar faces of the big and small screens, The Dig takes on a lot of storylines which can be overwhelming at times but the beautiful direction and incredible performances, particularly by Fiennes, keeps you drawn in. With beautiful production and costume design, The Dig may appear as generic on the surface but you simply have to look a little deeper to really find the beauty in the characterisation and production beyond the script. Stone clearly has an affinity for creating films in a natural environment that feel huge in scope so it will be exciting to see what he does next.

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

The Dig is available to watch on Netflix now!

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Saint Maud (2020)

If there was one film I was looking forward to seeing in 2020, it was Saint Maud. Thanks to the global pandemic, it was one of the many films that was delayed and just under a year later, I finally have been able to see it. Directed and written by Rose Glass in her feature debut, Saint Maud follows palliative care nurse, Maud (Morfydd Clark) who is sent to care for former dancer, Amanda (Jennifer Ehle). Maud is a recent Christian convert and is very influenced by God and will do anything to carry out his will, even if it comes at the cost of her sanity and the lives of those around her. It falls into the psychological horror category and a lot of the tension in the film is carried by the strong direction and Clark’s incredible leading performance.

Rose Glass has entered the film industry with a massive splash. Saint Maud marks her feature debut and she delivers in spades. Her directorial vision is so distinct as it mixes traditional shots of suspense with some tributes to classic religion horrors such as The Exorcist while also bringing in a freshness that feels like a breath of fresh air. Bringing an intense horror to a quiet English coastal town, this film feels ground in a real working class reality in the world around Maud whereas Maud clearly doesn’t fit in. Seen entirely through Maud’s perspective as she is in every scene, it’s clear that Maud doesn’t belong but the reason why is unclear. The script is a beautiful slow burner that is paced fantastically whilst still containing a lot for an 84 minute film. Glass makes the most of every second and it is definitely one of the best horrors I have seen in a whole. It’s fantastic to see how women are regaining control of the horror genre and the pay off is brilliant.

Welsh actress, Morfydd Clark is an absolute revelation as palliative care nurse, Maud. Maud is clearly an extremely tense and troubled individual who is trying to make sense of her purpose in the world. A recent convert to Christianity, she looks to God at every point in her life and rather than just verbal words, she feels God’s presence physical. As expected of “body horror” films like The Exorcist, Clark gives her all physically and emotionally without allowing the energy to die down. We feel the tension rising and rising as Maud has pain inflicted on her as well as bodily harm as she believes she must suffer to be with God. Maud is so invested in her religion that she is not even living her own life anymore. From the first moment she is on the screen, we feel that tension and intensity from her. Clark perfectly embodies Maud and shows her struggles perfectly, holding the film on her shoulders in a superb breakout performance. Rather than play the role as a horror lead, she performs as a dramatic lead instead which works perfectly to build up the conflict and horror that is brewing through the film.

In support, Jennifer Ehle is incredible as dying creative Amanda. A former dancer who has fallen ill to stage four lymphoma, Amanda is the polar opposite to uptight Maud. Arguably and ironically full of more life than Maud, Amanda aims to live her last days to the fullest, indulging in alcohol, parties and lots of sex. Maud is both intrigued and appalled by Amanda’s actions and strives to save her soul in time before she dies. Ehle is a fantastic who is often wasted or not given enough screentime in most films she stars in but Saint Maud elevates her to a hugely significant supporting character. Amanda’s free nature is unsettling as we struggle to know what she really thinks. Even as Amanda’s health decays, Ehle gives the character that depth and life as Amanda fights her illness. Even as she succumbs to the end, she has that freedom that Maud simply cannot restrain.

The score is phenomenal and immediately brings in the horror aspects of the film. Whereas the performances feel more dramatic, the music dictates the tone and elevates the tension in the film. Composed by Adam Janota Bzowski, the score is atmospheric, beautiful and hugely impactful. The film overall doesn’t have a lot of bells and whistles that many other psychological horrors have but Bzowski’s score is almost an effect in itself. The heavy electronic sounds filled with bass add to the film’s unsettling nature. Even in moments that seem more relaxed, the score refuses to rest and its relentlessness adds so much to the film as a whole. I am extremely excited to see what Bzowski has in store for the future and hope he continues to score films.

Saint Maud is a film that was definitely worth the wait. From the first shot, it is captivating and you can’t draw your attention away. The intricate amount of detail in every movement and props shows the amount of care that has been made in the writing. This marks the fantastic start for Rose Glass and Morfydd Clark as well as providing Jennifer Ehle a chance to really show off her range. For those who claim that horror is a man’s genre, I implore you to check Saint Maud out and guarantee that you will be pleasantly surprised. A film that I already want to watch again and again and again.

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

Saint Maud is released in the UK on Monday 1st February.

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The Forty-Year-Old Version (2020)

Radha Blank appears in The 40-Year-Old Version by Radha Blank, an official selection of the U.S. Dramatic Competition at the 2020 Sundance Film Festival. Courtesy of Sundance Institute | photo by Jeong Park. All photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute programs. Photos must be accompanied by a credit to the photographer and/or 'Courtesy of Sundance Institute.' Unauthorized use, alteration, reproduction or sale of logos and/or photos is strictly prohibited.

Another film on my awards season list is The Forty-Year-Old Version, released on Netflix, the film is a brilliant comedy film written, directed and starring Radha Blank. It first premiered at the 2020 Sundance Film Festival, with Blank walking away with the U.S. Dramatic Competition Directing Award which made it one of the hottest releases at Sundance. Although it is marketed as a comedy and really showcases Blank’s talent for humour, the film crosses into many genres, particularly drama and musical as we see every side of Radha’s life as she approaches her 40th birthday. Marking her feature film debut as a director, Blank has a distinct vision that allows the audience to see real women and the real New York. The decision to shoot the film in black and white made me think of Spike Lee’s films from the 1980s, especially since they are set in New York and feels like a fresh take for the 21st century just as Lee’s point of view was on his film’s release.

The Forty-Year-Old Version follows Radha, a fictionalised version of Blank as a struggling playwright and teacher who is trying to get her play, Harlem Ave. off the ground. Attempting to revive a failed rap career under the name RadhaMUSprime, we go through Radha’s artistic process and how it overlaps through different mediums of expression such as musical, plays, performances. As she balances her teaching career, trying to get her play produced and emerging as a rapper, Radha’s life becomes hectic and out of control as she struggles to maintain a balance. Soon enough, Harlem Ave. gets a renowned producer on board but that soon changes when the producer aims to market the play to middle class white people who know nothing of the struggles of the gentrification that Radha’s play explores. From exploring a young black couple who own a small store affected by gentrification to the addition of a white protagonist whose qualms in life is not having a place to buy soya milk. The play actually explores gentrification in an ironic way that brings those issues to light. It is Blank’s incredible script that talks about gentrification and the African-American struggle in modern day New York where the film really shines.

Playing a fictionalised version of herself, Radha Blank pulls off a great and relatable performance that perfectly highlights the struggle of being an artist. Radha is real, unfiltered and flawed whilst trying to express herself through her art. As she tries to write her.play, she finds herself rapping the words. Through music, she is able to find the words that she wants to say. Her point of view as a black woman who is nearing 40 in a society that is obsessed with youth and gaining success at a young age is something that confuses and shocks the audience. However, Radha’s voice comes in the climactic final scene of the film. As her play reaches its opening night, Radha is embarrassed and is appalled at being associated with such a result. Her rap speech at the end of the play is an exhale of all the words she wanted to say but couldn’t initially find them.

In support, the highlight for me is Peter Kim as Radha’s agent, Archie. Desperately trying to book Radha a gig, Archie provides comic relief and the scenes and rapport the two share makes for great dialogue. Whereas Radha is a creative, Archie is completely logical and aiming to achieve the American Dream by making money. Staying loyal to Radha as they have been longtime friends, it’s easy for Radha to forget Archie’s own struggles as an Asian-American because his aims are different to hers. The scene in which Archie breaks down to Radha hits hard, especially given that he is seen as light comic relief up to this point. Just like Radha, Archie also makes sacrifices to make way for opportunities and keep the door open for Radha to have her play produced after she lashes out at the producer.

Overall, The Forty-Year-Old Version is one of the most original comedies to come into the 2021 awards season. As it is one of the smaller indie films, it’s not likely to rack up lots and lots of nominations sadly but I think it stands a very good chance in the Original Screenplay category. As mentioned previously, the final scene is an absolute masterclass in acting and writing. Through all the humour that the film conveyed throughout, that serious tone in the rap/speech grounds the film and also allows Radha to cut through all the noise. Blank’s writing is fearless, unflinching and unapologetic and the result is a fantastic film that perfectly exemplifies the struggles of African-Americans when it comes to creating art and how their output has to be approved by a white audience. Blank subverts this rule by firmly putting a middle finger up to an establishment that is trying to rewrite the history of gentrification.

What did you think of The Forty-Year-Old Version? Let me know in the comments below!

The Forty-Year-Old Version is available to watch on Netflix now!

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The Midnight Sky (2020)

Happy new year, my fellow filmies! Now that we have left a year that has shaken the whole world up, we can now look forward to a new start where things can start to look more positive. As any film fan will know, we’ve now entered the period of awards season which means plenty of screeners, numerous streaming site subscriptions and hopefully plenty of cinema trips if and when they reopen. Embarking on the quest to watch as many films up for contention has gone off to a great start and the latest on my watch list is Netflix’s The Midnight Sky directed by and starring George Clooney. The film takes place in a dystopian future where Earth is becoming more inhabitable. Humans have been evacuated onto spaceships in order to find a new planet to settle down on. Clooney plays research scientist, Augustine, the only survivor left on Earth as he is terminally ill and needs dialysis to survive. He keeps in contact with a ship called Æther whose team has discovered a habitable moon called K-23 that orbits Jupiter.

George Clooney’s direction is hugely ambitious as this marks his biggest directorial project yet. With a huge handful of successful adaptations under his belt, The Midnight Sky is an adaptation of the 2016 novel, Good Morning, Midnight by Lily Brooks-Dalton. With a screenplay written by Mark D. Smith and a massive budget of $100 million, Clooney brings together a renowned cast and crew for the film and the result is a huge spectacle that feels like an event in the same vein of other 21st century space sagas like Gravity (which also stars Clooney) and Interstellar. However, where the film excels in its special effects and grandeur, it seems to lack a little in the characterisation and we don’t quite get to know the main characters as well as I would like, especially the leads Augustine and Sully (Felicity Jones).

As mentioned previously, we have George Clooney and Felicity Jones as the film’s leads. Both play scientists in different setting and never share a scene together and yet they have a touching friendship as they compare notes. With Augustine having theorised that K-23 was habitable 30 years prior as shown through flashbacks, Sully and her team aboard the ship have actually proven his research to be correct. Clooney sets himself a huge challenge as his scenes only consist of him and a young girl called Iris (Caoilinn Springall) who can’t speak. Having to drive the scenes largely himself, it’s a huge undertaking and at times the action happening can overwhelm the emotion and make the film inaudible at times. On the other hand, Jones spends her scenes aboard the Æther which is heading to Earth to share their discovery of K-23. Working as an astronaut whilst pregnant, Sully is a resilient character. Despite being in her condition, she still puts in her fair share of hardwork like the others in the crew. Jones has shown time and time again that she is a strong leading lady, which is clearly demonstrated in The Theory of Everything and Rogue One. I think that Jones isn’t quite given the screentime and characterisation that she needs to really standout but she does a solid job with what she has.

For the supporting cast, Clooney fills the casting list with more familiar faces. My personal favourites in support were Kyle Chandler and Demián Bichir as astronauts Mitchell and Sanchez. Not only are Chandler and Birchir hugely likeable presences in any films, but it’s nice to see them in roles where they are able to provide a lot of subtle comic relief. Leading a team recital of “Sweet Caroline” from the control panel as everyone else is repairing the outside of the ship, it’s clear that Chandler and Birchir are having a blast in their roles. As they are only in support, they aren’t in the film that long and honestly, I think the film would have benefitted from incorporating them more into Sully’s storyline and showing their friendship to establish the family vibe that Clooney was aiming for. This would give the events that unfold a lot more impact.

The strongest aspect in this film for me is the beautiful score composed by the legendary Alexandre Desplat. Keeping the music subtle and more classical, Desplat’s score contrasts the sci-fi genre of the film and gears it towards the dramatic side, providing a heavier backdrop to the overall film. When watching the film, my ears kept picking up the music and it would grab my attention more than the story was and I instantly knew that it had to be a Deaplat score. As a huge fan of Desplat’s score, it’s clear that he is one of the best film composers working today and proves his amazing talent for working on any kind of film.

Overall, The Midnight Sky is a film that bites off more than it can chew. Individually, each aspect from the acting to the special effects to the scores work but when you mix it all together, it becomes a bit overwhelming without actually pushing a developed narrative. It’s great to see Clooney in front of the camera for a film since 2016’s Money Monster. I do wonder if the film would have benefitted more from a cinematic release. Granted cinemas are closed but this was always destined to release on Netflix. A lot of space dramas tend to have a stronger and positive response from a big screen viewing. That being said, it is a film I will probably revisit to see if I grow to like it more as there were some fantastic scenes throughout.

What did you think of The Midnight Sky? Let me know in the comments below!

The Midnight Sky is available to watch now on Netflix.

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Red, White and Blue (2020)

The third installment of Steve McQueen’s revolutionary Small Axe anthology series is Red, White and Blue chronicling the career of Leroy Logan, a forensic scientist turned police officer who aims to tackle racism in the system by encouraging more non-white people to join the force. His goal to fix the system does not come without challenges as his colleagues are openly racist and his own friends and family look down on him for joining the force. Whereas the previous two films in the series have looked at how black people were treated from their side explicitly and what Red, White and Blue does is show how black people were treated from within the police force itself.

Just as McQueen explores the racism at the hands of the police in the previous two films, we get an even more intense and first-hand perspective through PC Logan’s point of view. Despite excelling as an officer, his unwillingness to accept the racist treatment handed out by his colleagues costs him promotions and eventually leads to endangerment when they ignore Logan’s pleas for backup when he is pursuing and attacked by an armed suspect. Whether he is part of the force or not, Logan is treated as a suspect despite having not committed any crimes just as he was searched in his school uniform as a child. McQueen only covers the beginning of PC Logan’s career rather than presenting a full span of his incredible achievements but it works because we really get into the brutalityand prejudice that he faced when he initially joined. If McQueen had decided to do a full blown biopic then maybe certain significant events would have been overlooked which would undermine PC Logan’s struggle to have his voice heard by a force that historically doesn’t wish to hear it.

John Boyega’s lead performance as PC Leroy Logan is fantastically layered. Aiming to change the system from the inside out, Leroy experience racial attacks from his white colleagues at the force and hatred from the black community who view him as a traitor for joining the police. With Boyega being a huge advocate for the anti-racist movement, it is a clear match in heaven for McQueen to work with him. Honestly, it’s a collaboration I have been wanting for years and it paid off. Boyega is such a charismatic actor that his success in the Star Wars films can make people overlook his range but he is stellar and carries the film on his shoulders. Showcasing the building frustration and conflict that PC Logan felt as he was attacked from both the police who believe he should accept their racism and those in the black community who view him as a traitor. The scene in which he confronts his colleagues in the locker room after discovering abuse scrawled on his locker is hugely intense and marks a turning point in which Logan becomes more active and vocal about his goal to end racism within the force.

The scene in which PC Logan pursues the armed suspect is an amazingly shot scene. A single running shot showing Logan making his way through an industrial printing factory floor by himself highlights the problems that he faced perfectly. He apprehends the suspect alone after requesting backup numerous times but does not receive the support of his fellow officers. Whereas Logan is indirectly punished for speaking out against their racism, the other officers do not face punishment for abandoning him in the field despite being a street away. This scene hammers home how Logan had to build himself up without the help and support given to his white coworkers. It’s a scene of little dialogue except when Logan is desperately asking for help. Still he pushes forward and the tension builds and builds until he is attacked and manages to arrest the perpetrator.

Red, White and Blue may not have received as much coverage as Mangrove and Lovers Rock have but it deserves a viewing just as much. Telling the story of a man who introduced important change within the police force and encouraged new rules for how people of colour were treated by the police is something that has been grossly overlooked by the media at whole. Steve McQueen is telling these stories now so other people can take inspiration from their struggles and achievements and make their own changes.

What did you think of Red, White and Blue? Let me know in the comments below!

Red, White and Blue is available to view on BBC iPlayer now!

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Soul (2020)

One of the most hyped film of 2020, especially after it was delayed a couple of times after the pandemic took hold. Pixar’s Soul has been the subject of much conversation when Disney announced that it would be uploaded onto Disney+ on Christmas Day. I had actively avoided watching any trailers but knew that it involved jazz somehow. Watching the film provided to be both captivating and enlightening, providing one of the most emotional scenes I have ever seen in a Pixar film (yes, you read that correctly!).

Soul is directed by Pete Docter who is responsible for some of the best Pixar films including my favourite of all time, Up. What Docter does so well is include more mature themes that children may not understand initially but can grow to appreciate whilst maintaining that feeling of hopefulness and light. The film follows aspiring jazz musician, Joe (voiced by Jamie Foxx) who is struggling to find purpose as he works as a middle school teacher to make ends meet. Juggling the pressure from the school and his mother, Joe finally is given an opportunity to play with professional musician, Dorothea (voiced by Angela Bassett) but an unfortunate incident leads to his untimely death. What follows is an abstract and bizarre journey that explores what happens after life. When he finds himself mentoring an unborn soul called 22 (Tina Fey) to help find their spark and purpose to live, Joe begins to understand that there may be more to life than just jazz.

The film has garnered a lot of controversy among parents who feel as though the subject of life and death is too macabre to explain to children but death is a part of life and if your child is too young to understand then they are not likely to be affected by that aspect of the plot. Pixar’s earlier films Coco and Onward are among the many films that have incorporated life and death into their narrative yet generated no controversy for doing so. Soul has more to offer than simply suggesting what may lay ahead and there is enough music and liveliness to keep the overall tone lifted. Films can often be seen as a form of escapism but there is no harm in including some challenging questions and ideas into the storyline.

As expected, the cast is glittered with stars, bursting at the seams with huge A list names. I have previously mentioned some of them above and everyone does a fantastic job. I would, however, like to draw attention to the casting of Richard Ayoade and Rachel House as some of the monitors based in the “Great Before”, the place one enters before venturing to the “Great Beyond”. Ayoade and House mainly provide comic relief and their distinctive voices are always a nice inclusion in any film.

In terms of the score, it’s quite clear that Trent Reznor and Atticus Ross are having a stellar year after their recent collaboration for David Fincher’s Mank. The score for Soul is unlike any sound they have experimented with before. Combining jazz inspired music with dramatic ballads to show the clash between worlds from Joe’s perspective, the score is more subdued than what I thought it would be, particularly considering that jazz and music in general plays an integral role in the film. However, it feels as though that decision was made to show that music doesn’t necessarily have to be everything in Joe’s life. The tender moments we see him (or 22 as him) share with the people around him get him to realise this.

Soul really was worth the wait and more, particularly a scene near the end in which Joe journies as far as he can with 22 to Earth made for one of the huge emotional moments in Pixar history. The animation feels like it has been turned up a notch in terms of how much detail and scope the artists go. The scenes in which Joe ventures through the Great Before are the reason why audiences became captivated with Pixar in the first place. That unhindered imagination where nothing is impossible is hard to ignore and easy to appreciate. I do feel as though the ending could have done with an extra scene just to tie everything up neatly but that is proper nitpicking. Missing out on Soul is missing out on one of the best cinematic experiences of the year. It is just such a shame that it wasn’t to be appreciated on the big screen.

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

Soul is now showing on Disney+ so watch it as soon as you can!

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The Prom (2020)

One of the pleasant surprises of the year for me is Ryan Murphy’s The Prom. Adapted from the musical of the same name, The Prom follows a group of Broadway actors who try to reclaim some positive PR by protesting the decision a high school in Indiana made to cancel prom after student Emma (Jo Ellen Pellman), expressed her desire to take a female date. Featuring the starriest cast of the year led by Meryl Streep and Nicole Kidman, The Prom is a hilarious showstopping event that isn’t afraid to poke fun at the world it inhabits while simultaneously delivering a sincere message on equality and the comparisons between the two worlds.

Ryan Murphy is one of busiest men in Hollywood as he is always bringing out projects, mainly on TV and there is a common theme within all of them. His desire to put LGBT+ actors onscreen and tell their stories is clearly a passion of his and has helped create incredible shows such as American Horror Story, The Politician and my favourite, Pose. Now branching into film and it is clear that Murphy’s mission isn’t slowing down. Making sure that any LGBT+ characters are played by actors in the community is important and it has resulted in one of the best finds of the year. Also, the fact that he managed to get Streep and Kidman in one film is only a credit to his power and influence in pushing Hollywood in a more inclusive direction.

The personal highlight of this film for me goes to newcomer Jo Ellen Pellman as school outcast, Emma. Berated for her sexual orientation in a town that tries to oppress her identity, Emma has to deal with hate coming from all directions, especially because her girlfriend Alyssa is too afraid to come out. This puts Emma in a hugely isolating position where the only support she receives is from her grandmother and Principal Hawkins (Keegan-Michael Key). Not only does Pellman having the acting and singing chops needed for this role, but she really delves into Emma’s struggle to become the face for those who aren’t able to express who they are.

In support we have Meryl Streep as Broadway veteran, Dee Dee Allen, a narcissistic two time Tony winner who struggles to put anyone else before herself. There isn’t much else to say except that Streep is a force of nature and as expected, pulls off an incredible performance. Just when you think she has shown you range, she goes off and adds even more strings to her bow. Her singing is brilliant and the unpredictability of her character makes for some of the film’s funniest moments as well as keeping you on edge for what she will do next.

In a small but important role is Andrew Rannells as struggling actor, Trent Oliver. Rannells usually stars on stage and small screen and has made the jump onto film with his signature charisma. One of the best numbers in the film is a song called “Love Thy Neighbor” in which Trent teaches Emma’s school peers about how people pick and choose what to take from the Bible. It’s a turning point in the film as the general opinion towards Emma starts to change. Funnily enough, the townspeople only recognise Trent from the showbiz group from his past tenure on a tacky sitcom which he loathes and doesn’t think goes with his Julliard education.

Overall, The Prom is a wonderful film that is entertaining as well as poignant for this day and age. Featuring a cast that is among the best on stage and screen, The Prom was much better than I had anticipated. There is a lot going on a times making it hard to focus on specific characters but when the glitter has settled and the characters are given their moment in the spotlight, the film really shines. Emma’s song “Unruly Heart” which consists simply of Emma with a guitar performing her song which is being watched by fellow LGBT+ teens who are inspired by her story. The tender tone of the song and sincere message it holds makes for a hugely emotional sigh of relief for Emma’s character. This is the moment where she is unashamedly herself and isn’t afraid for everyone to know.

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

The Prom is available to watch on Netflix now.