Tag: adaptation

Categories
Review

One Battle After Another (2025)

Paul Thomas Anderson is one of the best directors working today because you never know what to expect with each film and One Battle After Another is no exception. Heralded as the best film of the year so far by numerous outlets, One Battle After Another is an unnerving portrait of the current political landscape, as far-right militia crack down on illegal immigration sparking violent protests from the far-left revolutionary group, the French 75. The film follows paranoid drug addict, Pat Calhoun (Leonardo DiCaprio), who must tap back into his French 75 training when his daughter, Willa (Chase Infiniti), is being hunted by the corrupt Colonel Steven J. Lockjaw (Sean Penn).

Marking his second Thomas Pynchon adaptation, director Paul Thomas Anderson lifts the basic plot of the novel, Vineland, from its Reagan-era setting and brings it to the 21st century. The result of which is an unpredictable study of political and socioeconomic conflicts in America that bubbles in tension as it interweaves characters meticulously until the fiery climactic third act. The fusion of Pynchon’s psychedelic wasteland and Anderson’s sharp attention to detail pushes One Battle into a league of its own and ultimately brings us a new kind of “epic” movie: one that is doused in dystopia nostalgia and intricate character dynamics.

Leonardo DiCaprio proves yet again why he is one of the best leading men in Hollywood. He is a tour de force as paranoid, drug addict, Pat Calhoun, a former bomb expert for revolutionary group French 75. Having worked with Martin Scorsese on a third of films released this century so far, DiCaprio has become synonymous with the realist gritty roles expected from a Scorsese feature. However, we’ve also seen DiCaprio venture into unfamiliar territory with highlights including his turns in Quentin Tarantino’s films Django Unchained and Once Upon a Time in Hollywood. However, it’s this performance as hopeless Pat that feels the most realised and distant from DiCaprio’s tenure in the 90s. We’ve seen him shine in comedies before with Wolf of Wall Street often cited as the film that should have won him the Oscar, but there is a tenderness in Pat’s character as he tries to do the right thing and constantly fails. His instincts fail him as he raises his daughter, Willa (Chase Infiniti) as a single parent following the abrupt departure of his partner, Perfidia Beverly Hills (Teyana Taylor) and spends his days drinking and getting high. You could argue that Pat’s character is cut from the same cloth as Joaquin Phoenix’s Doc in Inherent Vice. Both characters are conceptualised by Thomas Pynchon and realised by Anderson, but it goes beyond the aesthetic and feel of the great days of old. Pat and Doc both strive to create a better world, but in doing so find themselves against the sheer corruption of government, leading to a headfirst leap into conspiracy followed by drug-fuelled madness. Pat may seem cartoonish to an extent, but the sincerity with which DiCaprio plays him and that unkillable urge to better the world is the driving force that allows the film to deliver it’s message flawlessly.

In true PTA-style, we have a supporting cast of eccentrics with the standout being Sean Penn as the corrupt Colonel Lockjaw. Penn’s performance is so over the top with his physicality and mannerisms, that it’s hard to take Lockjaw seriously. Often used as the butt of a joke or the punching bag for the sinister Christmas Club, you can sense that Lockjaw is being pushed to his limit. We see flickers of darkness throughout the film, but it is during the final act when we see Lockjaw’s true nature and Penn brings the monstrous side of Lockjaw brilliantly. I don’t doubt that Penn will receive nominations across the board with a big chance of sweeping. This feels like a comeback in a way as Penn is extremely selective with his roles, but hopefully we can see more PTA collaborations in the future.

Another phenomenal supporting turn is from Benicio del Toro, who plays Pat’s friend, Sensei Sergio. He is viewed as a de facto leader in the immigrant community, always striving to help those in need. Once he realises Pat’s past affiliations, Sensei endeavours to help any way he can, understanding that their core values align. The opposite of Lockjaw in every sense, del Toro’s performance is minimalist and subtle but holds the same amount of impact with less time than Penn. With so much shine on Penn’s performance, it would be remiss to overlook the astonishing work del Toro does here and he more than deserves inclusion in Best Supporting Actor discussions.

There’s nothing better than seeing someone absolutely smash their breakthrough role and Chase Infiniti’s performance as Willa is among the best in recent years. Not only does she hold her own against industry veterans with ease, her performance brings the heart to the film. We see Willa try to break free from her father’s restrictions with success and failure in equal measure. Despite growing up in a community that society would deem “outcasts”, Willa herself is seen as an outsider to her peers, making her an isolated individual. The main frame of the film sees Willa come to terms with her identity and the mystery of her mother’s whereabouts and how that legacy determines her place in the world. It could be argued that One Battle is a coming-of-age film as Willa’s “battle” is building her own identity as she enters adulthood.

Jonny Greenwood returns to score the film, bringing a 1970s soft-rock vibe that feels nostalgic and scenic. As expected from Greenwood’s work with PTA, the music works with the imagery, masterfully layering sounds to build tension which contrasts with the quieter music during scenes with lots of dialogue. There is a timeless quality to Greenwood’s score, despite its 1970s-inspired sound. At times mellow with vast scenery while at others, jaunty and infused with espionage during protest scenes, Greenwood finds a dynamic balance that is offbeat and complimentary at the same time.

If Greenwood’s score is the fire then Michael Bauman’s cinematography is most definitely the match. The use of wide shots  that linger elevates the suspense and unpredictability of the film. We, the audience, can only sit and watch these events unfold with an unflinching and unfiltered perspective. Bauman manages to use open spaces in a way that feels awfully claustrophobic. No matter whether the characters are meandering round the desert or huddled in tiny interrogation rooms, there is always a sense of entrapment that allows for no escape. The use of the camera when Willa is driving up and down hills with plenty of blind spots is nail bitingly brilliant and fully immerses the audience into the uncertainty of where the road – literally and figuratively – will lead.

One Battle After Another may just be the film that gets Paul Thomas Anderson his well-deserved moment of glory after decades of impeccable output. One Battle is a searing commentary on contemporary America and thanks to a plethora of memorable performances, an impactful score and ingenious cinematography, this is definitely a film that demands repeat viewings.

Categories
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!

Categories
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!

Categories
Review

The Tragedy of Macbeth (2021)

Shakespeare film adaptations are nothing new, as there have been an abundance of adaptations throughout the years. One of the most popular Shakespeare plays that has been adapted to film is Macbeth, which has had many film adaptations starting with the 1908 silent film. The newest addition to the Macbeth adaptation pile is Joel Coen’s The Tragedy of Macbeth. For those unfamiliar with Macbeth, the play (and this film), follows the titular character (Denzel Washington) and his ascent to the throne with the help of his Lady (Frances McDormand) of Scotland. Once he is King, Macbeth descends into madness and becomes a tyrant, causing a huge mutiny and attack from both England and Scotland, resulting in his downfall and eventual death.

The film is directed and written by Joel Coen and is arguably one of the best Macbeth cinematic adaptations that has ever been made thanks to Coen’s minimalist approach. The film is shot in black and white, but not only does this serve as a stylistic decision, it also ensures that the focus is on the text rather than the opulence. Coen’s adaptation is faithful to the play and his direction has clear focus on the characters. His respect for the source material is abundantly clear and the decision to have the actors speak in their original accents was a great choice as it means that more focus can be put on the words.

Denzel Washington leads as the titular character and completely embodies Macbeth through his rise and fall. What makes Washington such an effective Macbeth is that he provides the intensity and command required in such a role. Washington’s performance has been grossly overlooked this awards season with most award bodies only focusing on Will Smith in King Richard and Benedict Cumberbatch in The Power of the Dog. What Washington manages to achieve in this film is a deeply gravitating performance that draws you in from the moment he appears until the character’s eventual demise. The scene in which Macbeth ponders whether to go through with the murder of the King is among the highlights in the film.

You can’t have an effective adaptation of Macbeth without choosing a brilliant actress to portray Lady Macbeth. Who else was Joel Coen going to select except the incomparable Frances McDormand? McDormand is no stranger to Shakespeare, having played Lady Macbeth in 2016. Due to the dynamic shifts between Macbeth and Lady Macbeth, it is essential to have two actors who are able to carry off commanding and controlled performances. McDormand proves to be a perfect pairing for Washington’s Macbeth as she has an all-knowing presence about her. She perfectly encapsulates Lady Macbeth’s story arc from her manipulative methods in order to gain power through her husband through to her descent into madness. The scene in which she is sleepwalking around the castle and discussing the murder is eerie and ventures into horror territory thanks to the unpredictability of McDormand’s performance.

In one of the most captivating performances is Kathryn Hunter, who plays all three Witches and the Old Man. Hunter is a phenomenal actress who embodies the weirdness and otherness in the characters. Macbeth contains some of the most well-known Shakespeare quotes and a lot of them are delivered by Hunter. The scene in which the Witches visit Macbeth for the second time perfectly encapsulates the subtly and brilliance of Hunter’s performance, not relying on the bells and whistles that come with a lot of cinematic Shakespeare adaptations. Hunter’s acting ability comes through without any extra help, and it’s such a shame that her performance was overlooked during the mainstream awards.

The cinematography by Bruno Delbonnel is stunning and makes use of the various locations in the film. Despite the minimalism in the production design, Delbonnel manages to capture the world perfectly. Despite the use of numerous locations, there are many scenes in which there is a pinpoint focus on the characters themselves rather than their surroundings in order to draw in that focus. However, this doesn’t mean that Delbonnel isn’t able to incorporate innovative shots that make the film beautiful to watch. The scene in which Lady Macbeth is reciting a letter that Macbeth has sent her before setting fire to it is brilliantly shot, ending with the letter in flames as it floats away in the sky. The scenes in which the Witches visit Macbeth are both among the best scenes in the film thanks to their eeriness and simplicity, especially the second visit.

One of the best aspects of the film is the production design by Stefan Dechant, who has been nominated for an Oscar for his beautiful work on the film. The production design is innovative and works beautifully in the film, making use of the space and light in the film. Macbeth’s castle is large and empty, showing off the affluence and regality of the character’s station, while emphasising the emptiness and lack of fulfilment in the character’s life. Dechant’s production design is striking and clearly inspired by the stage, without feeling too “stage-like”. The scene in which Macbeth is visited by the Witches the second time has phenomenal production design as the Witches sit on beams above Macbeth as the character sits beside a pool of water and awaits to hear his fate. What makes the production design so effective is how simple it looks, but actually conveys the vastness of the land that Macbeth wishes to rule over.

The Tragedy of Macbeth may mark Joel Coen’s first solo project, but hopefully it won’t be his last. Coen’s minimalist approach allows the performances to shine, while also boasting innovative production design, wonderful cinematography, and a striking score. What makes the film so effective is how stripped back it is in its approach, meaning that the focus is on the text. It may not have the same level of flourish as other Oscar contenders, but it’s definitely worth the watch and marks one of Washington’s career-best performances.

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

The Tragedy of Macbeth is available to watch on Apple TV!

Categories
Uncategorised

My Son (2021)

It’s always exciting when films try to do new things and Christian Carion’s latest film, My Son, has a unique approach that makes it intriguing to watch. The film follows Edmond (James McAvoy), a man whose job takes him all over the globe which has in turn made him an absent father. When his son, Ethan (Max Wilson) is kidnapped, Edmond has to take matters into his own hands to locate Ethan and bring him home safely before it’s too late. It’s not the plot that makes this film intriguing, however, but the approach that Carion took by refusing to supply McAvoy with a script beyond the basic facts regarding his character. This means that McAvoy genuinely had no idea what was going to happen or how the film was going to unfold, adding a layer of genuine emotion to his character. The simplicity of the plot and limited setting helps to aid this to ensure that McAvoy can really delve into his characterisation without feeling overwhelmed by complexity.

The film is written and directed by Christian Carion, who is best known for his Oscar-nominated film, Joyeux Noël, My Son is an English-language remake of his 2017 Mon garçon which also incorporated the experimental aspects of having the lead character make discoveries of his own without having a script to rely on. The direction of the film is highly intense with some brilliant contrasts as Carion blends vast Highland landscapes with close-ups to provide that sense of entrapment and claustrophobia reflecting Edmond’s feelings. The script and story is fairly simple in terms of what happens to Ethan, but this serves in the film’s favour as it never feels overwhelming or overcomplicated as crime films often do. While this means that the film can delve into a predictable nature, the intensity of the direction keeps the audience gripped throughout.

Leading the film is James McAvoy as Edmond and arguably, the film relies on McAvoy’s performance and the conviction that he brings to the character. As ever, he is fantastic in the role and proves to be the perfect choice for Edmond as he is able to play a deeply flawed character that the audience roots for. Edmond is hard-working but neglectful of his family, to the point where his ex-wife has started a new life with her partner, Frank (Tom Cullen), while Edmond rarely visits to see Ethan. It’s a performance that hinders on this heartbreak that he doesn’t spend time with his son, but the love that he has for him knows no bounds. The climactic scene in which Edmond searches a large house for his son and has to kill or injure the kidnappers is deeply intense as the house serves as a claustrophobic labyrinth. While this performance may not show the range that his turn in Split did or be as well-known as his turn in the X-Men franchise, McAvoy demonstrates yet again his ability to play flawed characters that the audience will get behind with ease in a role that seems tailor-made for him.

Supporting McAvoy is the incredible Claire Foy who is best known for her portrayal of Queen Elizabeth II in the first two seasons of Netflix’s The Crown. Her performance as Joan couldn’t be further from her turn as the Queen as she is able to showcase even more versatility. Joan is a character who has been burdened with the duty of bringing up Ethan without Edmond’s help, while also having to be Edmond’s cheerleader when he doesn’t turn up for his son. Foy’s performance provides plenty of nuances and it’s a shame that her character isn’t in the film even more. She perfectly brings all of Joan’s frustrations to the surface in a performance that is powerful and works well against McAvoy’s temperamental Edmond.

Laurent Perez del Mar’s score perfectly undercuts the film and draws out the thriller elements. Just as the film provides many twists and turns, the score is full of swooping strings and drawn-out notes that highlight Edmond’s frustration and confusion. The score feels as though it is in tune with Edmond and his emotions, becoming more intense as the film goes on. However, del Mar knows when to create subtlety such as the scene in which Edmond is sneaking around the lodge to say Ethan from the kidnappers. This contrast between loud, dramatic strings and quieter moments provides an unpredictability to the film.

My Son may not have the most complex plot and story, but the strong leading characters and intense direction make this a thrilling watch, even if it does lose a bit of momentum in its closing scenes. McAvoy is brilliant to watch, as always, and it’s great to see him in a film that relies as heavily on his performance as we are able to feel his character’s array of emotions as he figures out what has happened to Ethan. My Son should be commended for its unconventional approach to filming and hopefully, this will inspire even more creative experiments in the filming process.

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

My Son is available to view on Amazon Prime!

Categories
Uncategorised

Top 5 Jennifer Lawrence Performances

Jennifer Lawrence is an actress whose star has risen exponentially since her breakthrough performance in Winter’s Bone in 2010. What has made Lawrence such a success both commercially and critically is her versatility and willingness to push herself by exploring different genres and refusing to be typecast. Her incredibly successful career has seen her nominated for 4 Oscars, winning one for Silver Linings Playbook in 2013, making her the second-youngest recipient of the Best Leading Actress award in Oscar history. After taking a short break between 2018 and 2021, she returned in one of the leading roles in Adam McKay’s star-studded black comedy, Don’t Look Up, starring alongside the likes of Leonardo DiCaprio, Meryl Streep and Jonah Hill to name a few.

As with any top 5 list, it’s always incredibly difficult to narrow it down, especially when discussing someone as diverse and charismatic as Lawrence because there are so many performances to consider. However, this list demonstrates her range and her ability to bring out the strengths and flaws of her character. From leading action franchises to complex dramatic character studies and everything in between, Lawrence has shown so much in her 15-year career and it’s exciting to see where her career will take her in the future now that she has returned from taking a well-deserved short break.

Here are my top 5 performances by Jennifer Lawrence in chronological order:

Winter’s Bone (2010)

Lawrence’s breakthrough came in 2010 when she starred in the independent film, Winter’s Bone. The film follows 17-year-old Ree (Lawrence) who is the main caregiver for her mentally ill mother (Valerie Richards) and also looks after her younger siblings by teaching them how to fend for themselves in the Ozark Mountain wilderness. Winter’s Bone is magical to watch because Lawrence is so magnetic and charismatic that her impending rise to stardom was inevitable. The film is regarded as one of the biggest indie successes as it was made on a $2 million budget and made over $16 million in the box office, resulting in a slew of Oscar nominations, including Lawrence’s first nomination for Best Leading Actor. Even though she didn’t win, she was constantly viewed as one to watch, and with the upcoming Hunger Games due to be released, Winter’s Bone is an excellent beginning for what can only be described as an incredible career.

Silver Linings Playbook (2013)

The film that won Lawrence her Oscar and cemented her place as a Hollywood staple was Silver Linings Playbook. Marking the first of three collaborations with David O’Russell as well as the first of six collaborations with co-star Bradley Cooper, Lawrence plays Tiffany, a widow who struggles with her mental health following the death of her husband and finds herself unemployed after sleeping with everyone in her office. Silver Linings Playbook is one of the best films when it comes to discussing mental health and this is thanks to the nuanced performances by Lawrence and Cooper, whose character Pat has been diagnosed with bipolar. What makes this performance special and incredible is considering how young Lawrence was when the film was made and released as the character of Tiffany was 40 in the book but was re-written to be younger to suit Lawrence’s age. Despite this age difference, Lawrence still provides the depth to the character and while the specific nature of Tiffany’s diagnosis is not discussed in the film, Lawrence’s nuanced performance shines through and we still emote and feel Tiffany’s struggles.

The Hunger Games: Catching Fire (2013)

One of the roles that helped Lawrence make her mark in Hollywood was her turn as protagonist Katniss Everdeen in The Hunger Games franchise. The series follows Katniss, a young woman who finds herself in the deadly titular games in which competitors have to fight to the death in a bid to be the last one standing. The Hunger Games: Catching Fire is one of those rare occurrences where the sequel is better than the original and this is partially thanks to Lawrence’s impeccable performance. This isn’t to say that Lawrence’s performance is anything less than brilliant in The Hunger Games, but there is a maturity and nuance that she provides in Catching Fire that could arguably be thanks to the vast experience that she gained between the films. Catching Fire is the strongest book in the series and the film is no exception as we see Katniss conflicted between her role as provider for her family and helping lift her family from the poverty line and her position as the face of the rebellion against the evil President Snow (Donald Sutherland). The opening scene in which she encounters President Snow in District 12 and is threatened is one of the most intense scenes in any young adult adaptation. The Hunger Games: Catching Fire isn’t afraid of exploring more complicated themes such as loss, grief, and internal conflict and Lawrence truly becomes Katniss in this instalment.

mother! (2017)

Lawrence’s most controversial performance is arguably her best. Playing the titular character, Lawrence’s performance delves deep into the psychological trauma presented in the film as her character’s life begins to fall apart. The film was directed and written by Darren Aronofsky who is known for pushing boundaries and while his previous horror, Black Swan was more vast in its locations and scope, mother! is more contained and is set within the one house, adding to the claustrophobia and entrapment that the character feels. Mother lives with Him (Javier Bardem) in a tale that serves as an allegory for the Bible and as Him gains more followers beginning with man (Ed Harris) and woman (Michelle Pfeiffer), life spirals out of control to the point of tragedy and destruction. mother! received a polarised reception on release and is still discussed to this day thanks to its topical discussions and the extreme violence and chaos that ensues. However, Lawrence’s affecting and provoking performance cannot be denied and will go down as a career best. You can read my full review for mother! here.

Don’t Look Up (2021)

One of the most talked about films of 2021 was Adam McKay’s black comedy Don’t Look Up, which boasted one of the starriest casts in recent years. Led by Jennifer Lawrence and Leonardo DiCaprio, Don’t Look Up split opinion with audiences responding more positively than critics. While Don’t Look Up has its flaws, one of its strengths lies in Lawrence’s hilarious performance as she appears to have the best lines and even outperforms DiCaprio (which is never an easy feat). Lawrence plays scientist Kate Dibiasky who discovers the comet that threatens to destroy the Earth within months and provides her signature deadpan humour throughout with the best joke in the film being her confusion over a staff member at the White House charging her for food that is actually free. You can read my full review for Don’t Look Up here.

After taking a break for a few years, it seems as though Lawrence is back and better than ever as she has a slew of projects lined up for the future including Adam McKay’s biopic, Bad Blood, in which she plays the fraudulent businesswoman, Elizabeth Holmes and Luca Guadagnino’s adaptation of the novel, Burial Rites, which explores the last woman executed for murder in Iceland to name just a few. Lawrence remains one of the most successful and popular actors in Hollywood regardless of her break, proving just how talented and charismatic she is.

What are your favourite Jennifer Lawrence performances? Let me know in the comments below!

Categories
Uncategorised

Dune (2021)

One of the most hyped films to come out of 2021 was Denis Villeneuve’s Dune which boasted one of the best casts and a huge budget, incorporating plenty of advanced special effects that have given a new sci-fi franchise room to thrive. Dune is based on the 1965 novel of the same name, written by Frank Herbert and was often regarded as “unfilmable” due to the enormous scope of Herbert’s universe. It follows Paul Atreides (Timothée Chalamet), the heir of the House of Atreides, who is gifted with powers bestowed upon him by his mother, Lady Jessica (Rebecca Ferguson), who is a member of the Bene Gesserit, a religious sect that strictly trains the body and mind to achieve things that ordinary people can’t. When the desert planet of Arrakis is under attack by the power-hungry Baron Vladimir Harkonnen (Stellan Skarsgård), Paul must master his powers and team up with the inhabitants of Arrakis, including a young woman called Chani (Zendaya) to overthrow the Baron and restore peace to the planet.

Denis Villeneuve is one of the most talented directors working today and he proves this with Dune. Villeneuve has worked in many other genres in his career but no project has been bigger than Dune. The result is absolutely spectacular despite the many challenges that a story like Dune has. It is a story with many characters and many moving parts, but Villeneuve never overwhelms the viewer with more than they can handle, while also ensuring that enough of the character is brought through. There are lots of star-studded films that feel overwhelmed by the scope of the actors but this isn’t the case with Dune, and this is because of Villeneuve’s impeccable directing. The actors really become their characters and where performances in sci-fi blockbusters are usually grand, the performances in Dune are more subdued and substantial.

Leading the film is Timothée Chalamet. who has proven to be one of the best young actors working today. Ever since his breakthrough performance in the 2017 film, Call Me By Your Name, which brought him an Oscar nomination, Chalamet has been leading all kinds of films from autobiographical dramas (Beautiful Boy) to period dramas (The King) to comedies (The French Dispatch). Dune allows Chalamet to showcase further range within the sci-fi field in the role of the protagonist, Paul Atreides, which he does with ease. What is great about Chalamet’s performance is that he showcases Paul’s struggle to master his powers while also facing pressure as the heir of his house. Despite his young age, there is a lot of responsibility on Paul’s shoulders and Chalamet brings forth Paul’s naivety and flawed nature rather than making him seem like a man who has all the answers. The scene in which Paul is tested by the Reverand Mother of the Bene Gesserit, Gaius Helen Mohiam (Charlotte Rampling), is a masterclass in acting as we feel the physical and mental pain that the character is enduring.

Arguably the most important character in Dune is Chani, the young woman who lives on Arrakis and fights back against those who try to oppress its people. Playing Chani is Zendaya, who is another actor that has proven a huge range at such a young age. The battle for Arrakis is not one that is grounded in power for Chani, but rather the fight for her home and to live a peaceful life. This means that the character’s motives are completely different from the House of Atreides and Paul in particular. However, as events unfold, Chani and Paul find that they have a lot in common and agree to work together in order to overthrow the Baron. The little we see of Zendaya shows a lot of promise for the upcoming films in which Chani has more presence as she showcases the loss that Chani has and her resilience.

In a film as vast and heroic as this, there has to be a villain that steps up to the plate and an excellent performer who can effectively put this across. The role of Baron Vladimir Harkonnen is filled with greed and corruption and is a difficult role to successfully pull off and Villeneuve entrusts none other than the fantastic Stellan Skarsgård to step up to the task. Skarsgård’s performance not only lies in the intimidating physicality of the character, but the unpredictability of his actions and the relentless nature he has in order to get what he wants and successfully reap back the power he believes he wrongly lost. Skarsgård isn’t in the film a lot, but the scenes that include him are among the best in the film, including the scene in which he has captured Duke Leto Atreides (Oscar Isaac). It’s a testament to his performance that his presence is felt throughout the film, even in the scenes that he is not in and it will be exciting to see the Baron and Paul’s eventual standoff in the upcoming films.

Although the film is filled with brilliant performances, the real highlight for me was Hans Zimmer’s score which undeniably contains traces of Zimmer’s signature sounds but also combines a new sound that enhances the overall experience. It’s difficult to pinpoint one track that stands out because the music flows so naturally with the film and works perfectly to highlight the struggles that Paul is facing. What Zimmer has always done brilliantly is incorporating vocals into his tracks, which is what makes the music in Gladiator so entrancing. For Dune, he takes a similar approach with tracks such as “Gom Jabber” boasting aggressive vocals that provide an otherworldly feel, while using instruments such as bagpipes in the track “Arrival on Arrakis” shows the unpredictability and clashing nature that Villeneuve is capturing. Hopefully, Zimmer’s work will get rewarded with a deserved second Oscar win.

It’s difficult to talk about a film like Dune and not discuss the cinematography. What Greig Fraser manages to achieve is astonishing as he captures a world that is vast and seemingly endless, while contrasting it with feelings of entrapment and claustrophobia at the same time. It is thanks to Fraser’s use of the camera that we are able to explore the planet of Arrakis through Paul’s perspective, so it feels as though the audience is on the journey with the protagonist. Despite the abundance of special effects in the film, Fraser makes the landscape seem as natural and real as possible, truly allowing the audience to escape and feel as though Arrakis could be real.

Dune is one of those books that has always proven to be difficult to film, but what Villeneuve does is enhance the grittiness and realism of the story and uses the special effects fantastically to transport us to Arrakis. It’s no surprise that Dune has received so many award nominations and it is certain to swipe the technical categories thanks to the immersive experience. Dune: Part Two is sure to be just as exciting and thrilling as the first installment as it will explore Chani’s character more and follow Paul’s improvements. A star-studded spectacle that works beautifully and showcases blockbusters at their very best.

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

Categories
Uncategorised

Passing (2021)

Passing is a film that appears to have slipped under many filmgoers’ radars but one that should definitely be watched. This Netflix film sees phenomenal actress Rebecca Hall in her directorial debut and follows Reenie (Tessa Thompson), a woman who encounters a childhood friend, Clare (Ruth Negga), who explains to Reenie how she has been able to “pass” as a white woman to make her life easier in a racist society. Clare has been so successful in her bid to pass as white that her husband, John (Alexander Skarsgård), has no idea that she is black. Reenie begins to see the allure of passing as white in a society that is still inherently racist but in doing so, she begins to experience a loss of self in her identity while Clare is struggling with the loss that has already happened and wants to reconnect with her heritage and the life that she previously knew.

The film marks actress Rebecca Hall’s directorial debut and she also provides the screenplay which has been adapted from the novel of the same name by Nella Larsen. What is visually striking about Hall’s direction is how timeless it feels despite being a period piece that is grounded in its 1920s New York environment. The first thing to note about the film is the decision to film it in black and white which not only highlights the racial issues discussed in the films, but it also provides that timelessness and allows the film to focus on the details of the writing rather than the colours. Hall’s script is beautifully written as she allows the story to naturally develop without feeling rushed so we become accustomed to both women’s nuances and mannerisms.

Leading the film is Tessa Thompson who plays Irene, or Reenie as she is known to her friends. Reenie learns how to pass as white from childhood friend Clare and while this idea may have seemed beneficial and advantageous initially, Reenie begins to experience a conflict with herself and the life she has established. Married to successful doctor Brian (André Holland), Reenie is keen on fighting for racial equality but her fascination and admiration for Clare and the idea of passing as white naturally conflicts this due to Clare’s life decisions and her detachment from her heritage. Thompson shines in this leading role and shows her dramatic range while also bringing depth and authenticity to Reenie and the struggles she is faced with as Clare’s ideology and the society that encourages such ideologies threaten to undo all the work she is has done in her life and the life that she has worked hard to achieve.

Ruth Negga has received acclaim and attention from various awards bodies including a Golden Globe nomination for her supporting turn as Clare. Contrasting to Reenie, Clare lives her life as a white woman and is married to the affluent John Bellew who is openly racist and comments on his wife’s complexion. What is brilliant about Negga’s performance is how magnetic Clare’s character is. As soon as she is introduced onscreen and observes Reenie from a distance, there is so much to gain from her mannerisms and fearless nature. In any other film, a character like Clare would be viewed as a person who is simply meddling in Reenie’s life but Negga works well to show Clare’s own struggles and her desires to break free from the trap that she has put herself in.

Alexander Skarsgård provides a brilliant turn as Clare’s racist husband, John Bellew. Skarsgård isn’t in the film a lot but in the few scenes that he is, his presence immediately shifts the tone of the film into horror or thriller territory as his racist rhetoric is threatening and aggressive immediately, especially in his first scene in which John constantly digs at Clare for her complexion which has been appearing “darker” than usual. John’s character is representative of the hatefulness in a racist society due to the openness in his comments and intimidating nuances that are extremely discomforting, especially towards Reenie when she first meets him.

One of the highlights of the film is the music which is composed by Devonte Hynes. Reflecting on the period of the film, the music incorporates elements of jazz while the score itself shifts and changes along with the tone of the film. Just as jazz itself is known for its unpredictable nature, the score channels Reenie and Clare’s inner conflicts as they try to figure out their sense of identity and self in a society that disregards people of colour and women of colour in particular.

Passing is one of those films that doesn’t need bells and whistles to show off the craftsmanship and nuances within. It’s a shame that it hasn’t received as much attention as it deserves because there are a lot of stand out performances, especially from Ruth Negga as well as Rebecca Hall’s impeccable script and direction which elevates the film beyond its time into a story that feels just as relevant today as it was when the book was first published. It’s this timelessness that makes a film like Passing incredibly important and necessary to discussions on race. If this is what Hall can deliver in her directorial debut then it foreshadows a lot of promise for her future directorial endeavors.

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

Passing is available to watch on Netflix now!

Categories
Uncategorised

London Film Festival 2021: The Power of the Dog

It’s no secret that the COVID-19 pandemic saw the delay of many films which has resulted in a huge amount of quality films being released this year. One such film to suffer from pandemic delays is Jane Campion’s The Power of the Dog which is her first feature film in 12 years since 2009’s Bright Star. Based on the novel of the same name by Thomas Savage, The Power of the Dog follows the lives of two brothers, Phil Burbank (Benedict Cumberbatch) and George Burbank (Jesse Plemons) who own a family ranch and how their lives change when George falls in love with – and quickly marries – Rose (Kirsten Dunst), a widow whose former husband died of suicide. In true Campion style, the film provides deep characterisation, stunning scenery, and a script that is so beautifully written and paced that you feel completely immersed in the film and its time period.

Written and directed by Jane Campion, The Power of the Dog has proven to be a huge hit at festivals and it’s easy to see why. The film feels authentically Western in its slow pacing with her writing and directing giving the film plenty of chance to breathe. The way Campion utilises natural light in her film brings a rawness that allows the landscape to show off its natural beauty without using any filters or techniques. Equally, Campion’s ability to make the audience feel claustrophobic in the open space is so clever such as the scene when Phil and Peter are on their travels through the hills. What is so wonderful about Campion’s filmmaking is that she has such an intricate knowledge of space and how to make use of the space. In one scene, we see George and Rose driving back to the ranch after dropping Peter off at school and they are surrounded by rolling hills which seems to go on for miles; however, what was once an open space is gradually zoomed into George and Rose as they try to dance and it suddenly feels as though the space has become much smaller. Unsurprisingly, the film has brought Campion much acclaim for her directing and she even won the Silver Bear at this year’s Venice Film Festival.

Leading the film is Benedict Cumberbatch as Phil Burbank in what is arguably his best performance to date. To say that Phil is a deeply complex character is an understatement. He is a character plagued by his past as he constantly refers to his late mentor – and lover – Bronco Henry, who has since passed away. The result of which is a character that internalises who he is and replaces it with toxic masculinity, feigning power and confidence through brutality and strength. Phil’s leadership and charisma is hard to miss as he makes his presence known no matter where he is. Cumberbatch is captivating in a role that may seem mismatched at first but his dedication and relentlessness allows us to him in an entirely new light. He has become a firm favourite for the Best Actor awards this coming awards season and it is easy to see why. Even if he doesn’t win, he will definitely earn nominations in what is a performance of a lifetime.

Playing Phil’s brother, George, is Jesse Plemons and the two characters couldn’t be more different. Where Phil is overly observant to a fault, George is oblivious although his heart is in the right place. Unable to see his wife suffering or catering to her needs, George tries to force her into a societal position that she doesn’t feel comfortable with. This isn’t out of malice or bullying but because he does what he believes is expected of him. Plemons is always great no matter what role he does and it’s a treat to see him in a bigger role. The scene where George confronts Phil about the latter’s treatment of Rose is ridiculously intense and this is because Plemons and Cumberbatch manage to bring an authenticity to their roles that feels genuine and brotherly. Kirsten Dunst plays Rose, a woman who recently lost her husband to suicide and is struggling to run the family restaurant. She marries George shortly after meeting him but soon finds that her brother-in-law, Phil, does not approve of their marriage, believing her to be a gold digger. Dunst is one of a few women in the film but her presence is duly noted and she commands each scene she is in, especially as her character delves into alcoholism. The lack of female roles is completely on purpose as the film is showing what happens when an environment is dominated by men and, specifically, toxic masculinity. Rose’s background is completely different to Phil’s entirely and it is these differences that cause friction between them. The scene in which Rose practices on the piano and eventually finds herself in competition with Phil’s banjo playing is somehow terrifying and comedic at the same time. Dunst’s performance in this scene is brilliant as we feel the fear in the character and her emotional struggle as she cannot finish her piece.

Another performance in this film that has been receiving a lot of attention is Kodi Smit-McPhee’s turn as Rose’s son, Peter. The first time we see Peter, he is delicately cutting pieces of paper which are then shaped to make paper flowers which he then takes to his father’s grave. From his sensitive nature to his crisp and neat appearance, it is clear that there is something that sets Peter apart from the other men in the area. This is pointed out during his first encounter with Phil and the rest of the ranchers as Phil makes fun of Peter’s flowers and the way he dresses and carries himself. Assuming that he is homosexual, Phil and the other men hurl homophobic insults at Peter wherever he goes and bully him relentlessly; however, Peter appears indifferent to their insults and carries on with his research to become a medical doctor. Smit-McPhee’s performance is the perfect opposition to Phil. Where Cumberbatch’s performance is loud and commanding, Smit-McPhee’s is much quiet and subtle while still grabbing the audience’s attention. The climactic scene between Phil and Peter in the barn is incredibly intense and has the audience at the edge of their seat and this is due to Cumberbatch and Smit-McPhee’s flawless chemistry.

One of the many highlights in this film is the beautiful score which is composed by Johnny Greenwood. What makes Greenwood one of the best composers working today is the huge range of films that he has worked on. Whether it is a period drama such as The Master or a thriller such as You Were Never Really Here, Greenwood always knocks it out off the park. He has delved into the Western genre before with his game-changing score for There Will Be Blood and yet somehow, he manages to create a completely new and different sound for the music in this film. Featuring hints of Western and thriller, Greenwood integrates his signature sounds with atmospheric tones that work seamlessly with the film. The music never overwhelms the film itself and yet manages to stand out and elevate the mood of the scene. Hopefully we will see Greenwood receive another Academy Award nomination for his work and maybe even a win.

The Power of the Dog was a film worth waiting for and more. Hopefully, it will see a lot of recognition come awards season thanks to the breath-taking direction, stellar script and impeccable performances, especially by Cumberbatch. Campion has come back with a bang and here’s hoping she doesn’t wait as long before making her next feature.

The Power of the Dog is showing at this year’s London Film Festival!

Categories
Uncategorised

London Film Festival 2021: Drive My Car

One of the many films to captivate audiences at this year’s Cannes Film Festival was Drive My Car where it won three awards including Best Screenplay. Adapted from Haruki Murakami’s short story of the same name from his 2014 short story collection Men Without Women, Drive My Car follows stage actor Yūsuke Kafuku (Hidetoshi Nishijima) who is hired to direct an upcoming production of Uncle Vanya following the sudden death of his wife. The film is a whopping three hours long and because of this, the original narrative of the short story has been extended thoroughly to create a story so detailed, that watching it is like being on a long and relaxing car journey.

Directed by renowned visionary Ryusuke Hamaguchi who cowrote the script with Takamasa Oe, Drive My Car is an exceptional character piece that really allows the audience to delve into Kafuku’s life in riveting detail. The simplicity of the direction and Hamaguchi’s knack for long conversational scenes allows the film to develop at an organic pace serves Drive My Car well and feels like a breath of fresh air in a current climate where filmmakers feel the need to rush their characterisation. This film is proof that less is more and shows Hamaguchi’s place as a fantastic visionary which hopefully lead to more astounding character pieces being made in the future.

Playing Kafuku is Hidetoshi Nishijima who has been perfectly cast in the lead role. Kafuku is a veteran actor who lives with his wife. We see people come and go in Kafuku’s life which is expected in his occupation as an actor and following the death of his wife, he finds himself at a stand still emotionally as he cannot fathom why she cheated on him before her untimely death. Despite this, Kafuku is recruited to direct an upcoming production of Uncle Vanya and is assigned a driver, Misaki, to transport him to and from the rehearsal venue where they strike up a friendship over time. We see Kafuku remain emotionally disconnected from those around him but something about Misaki strikes his curiosity and he desires to learn more about her. Due to the character centric plot, a lot of the film’s brilliance comes from Nishijima’s performance which feels so natural and organic in the role. He makes this mammoth performance seem easy and effortless despite being in almost every scene of this three hour epic. That is by no means an easy feat and the exceptional clarity and nuance he brings makes the film even more rewarding to watch.

The supporting cast is filled with strong performances, especially those who play the actors in Uncle Vanya as playing an actor requires extra layers. However, the star of the supporting cast is Tōko Miura who plays Kafuku’s driver, Misaki Watari. Miura’s performance is quiet and subtle but she her impact on the film and on Kufuku’s character is clear. At first it seems as though Kufuku and Misaki have nothing in common but eventually the former begins to open up emotionally and the two form a bond with Misaki providing much wisdom which helps Kufuku to move on with his life. In terms of their background, Misaki does not have an arts background and there is misconstrued as beneath Kufuku and his lifestyle. Soon enough, Kufuku realises that Misaki has much more to offer him than any play could. Miura’s performance is quietly powerful and it’s a shame she isn’t in the film more but the scenes we are treated to between the characters are beautifully written and paced, displaying a masterclass in filmmaking and character studies.

Overall, Drive My Car may seem intimidating due to its three hour running time, but just as the title suggests, the audience is taken through a journey slowly in a way that we get to fully take in everything the film has to offer. Adapting Murakami is no easy feat and Hamaguchi does a beautiful job of bringing this short story to life and extending the storyline in a way that is even more rewarding and breathes life into the characters by lifting them off the page.

Drive My Car is playing at this year’s London Film Festival!