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The Farewell (2019)

Lulu Wang’s second feature is a brilliant insight into a millennial experience on being an immigrant in America and the struggle for identity. Following Chinese-American millennial Billi (Awkwafina), The Farewell travels from America to China as Billi’s Grandma, Nai Nai (Zhao Shu-zhen), falls ill with terminal cancer. What throws an even heavier spanner in the works is Billie’s family’s decision to not disclose the full extent of the cancer to Nai Nai leaving Billi torn between what she believes to be right and the traditions of her Chinese family. The family organises a quick wedding for one of Billi’s cousins so everyone can see Nai Nai one last time before she dies. A semi-autobiographical film based on Wang’s own experiences, it is a deeply personal film that flits flawlessly between drama and comedy in a way that feels authentic. The majority of the film is in Chinese with the American family integrating English into conversations, particularly if it involves Nai Nai. A critical and commercial success on release, it was a familiar face at awards season but controversy turned its nasty head when it was wrongly snubbed at the Oscars in all categories.

Awkwafina has slowly become one of my favourite rising stars after her great supporting turn in Ocean’s 8. Tuning into what is clearly her signature dry humour, Awkwafina’s Billi is a young woman dealing with an internal identity crisis as her American state of mind cannot comprehend the Chinese tradition of not telling a sick person about their condition. Billi’s sensitive and outspoken traits are deemed “American” and she is both mocked and chastised for it. The performance garnered Awkwafina her first Golden Globe for Best Actress in a Comedy or Musical and I am sure it won’t be her last. She was sadly omitted from the Academy Award nomination in a snub that was swirling in controversy but her time will come. It’s insane to think that this was her first leading performance in a feature film because it’s a turn that most people can only dream of achieving. Billi’s story arc is one of emotional growth. She doesn’t have all the answers but she doesn’t need to have them at the moment.

In support we have Zhao Shu-zhen turning in a fantastic performance as the resilient Nai Nai. Always putting Billi in check and making sure everyone is well fed, Nai Nai is a character of strength and Shu-zhen plays her perfectly. The dynamic Shu-zhen and Awkwafina have onscreen is brilliant and their relationship seems real to the point where it sometimes feels like you are watching a documentary. There is no reason whatsoever as to why Shu-zhen was not nominated for her Supporting role at the major award shows. Even when she is not onscreen, the audience is constantly thinking about Nai Nai and waiting for her next scene. Nai Nai has to reintroduce Billi to her Chinese heritage and does it in a way where she too becomes accustomed to Billi’s sensitivity.

There are so many scenes that can be discussed but in particular, the scene when Nai Nai is in hospital and Billi asks the doctor in English for the truth because she knows only her and her parents will understand. Not only is it a punch in the gut on the delivery of the doctor’s news but is also balanced out by Nai Nai’s attempt to set up Billi and the doctor. Despite the scene mixing Chinese and English, it never feels as though the flow and pacing is stilted. This scene is just one of many examples of Wang’s brilliant writing. In terms of her direction, the scene in which Billi runs from the wedding to collect Nai Nai’s test results from the hospital is one of huge significance. Storywise, this is the scene in which we see Billi accepting the traditions and actively following the plan to hide the condition from Nai Nai. As Billi runs a long stretch from the wedding to the hospital, the camera simply follows her in minimal takes. It is a brilliant sequence as we begin to see the desperation that Billi is feeling. These two scenes are so significant as one shows Billi’s reluctance to conform to the traditions to her embracing them and understanding.

Lulu Wang has established herself as a brilliant filmmaker with a strong vision and sharp writing. It is hard to believe that this is only her second feature film after 2014’s Posthumous. After the enormous success of Jon M. Chu’s 2018’s blockbuster Crazy Rich Asians (which also featured Awkwafina), there is clear proof that people want to see films starring and created by people of colour and minorities in an industry dominated and ran by white people. This is also what makes The Farewell so important as it is a deeply personal story but one that resonates with the audience. It would be great to see Wang collaborate with Awkwafina again as she managed to draw that dramatic side out in a way that is so rare and brilliant for comedic actresses. It’s only a matter of time before we see Wang’s name among the nominees on the major awards circuit.

What did you think of The Farewell? Let me know in the comments

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It’s a Wonderful Life (1946)

The one film that is brought up time and time again during Christmas time and globally known as the Christmas film to watch. Following community hero, George Bailey (James Stewart) during his highs and lows in life, we see him in the lowest moment and guardian angel, Clarence (Henry Travers) shows him what Bedford Falls would be like if Bailey was never born. Directed by Frank Capra, it’s a classic tale about the loved ones you have around you and the love you have for them in return. We follow George falling in love with the beautiful Mary (Donna Reed) which is sparked in one of my favourite scenes in film history as they sing “Buffalo Gals” and talk about lassoing the moon. So what is it about this film that makes it so well loved?

For starters, the feel-good nature of the film is perfect for family viewings, especially around Christmas time. Another appeal is the film’s fearlessness in exploring darker themes such as capitalism, the loss of the American Dream and death by suicide. George Bailey isn’t portrayed as more than the ordinary American man. He is a character of high moral character and this makes his fall from grace even harder to stomach. James Stewart is remarkable as Bailey in what has become the definitive Stewart performance. Albeit a bit awkward when portraying a younger Bailey as he looks so much older but he pulls it off because Bailey himself is a man who is older than his years. Bailey hasn’t been blessed with an easy life as he loses his father at a young age and is forced to take over his father’s business instead of travelling but he takes to it and thrives. His wife, Mary (Donna Reed) does well to keep him grounded and motivated. She has her own strength as she is unafraid to stand up for what she believes in. Mary isn’t as straightforward as the audience would believe. She has a complexity about her when she disappoints her mother by marrying George rather than the successful Sam Wainwright (Frank Albertson) or when she has to deal with remaining in Bedford Falls as George gives their Honeymoon funds away to avoid the bank’s closure. There is a lot of pressure on Mary to support both her husband and the family home, especially in the midst of a crisis. Even when George is angry, she refuses to let him get away with it while at the same time remaining composed and compassionate.

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Onto the sidekick side of things, Henry Travers captures Clarence’s purity perfectly. From his fascination with the stories of Mark Twain to his inability to mask his angel status, Clarence is a beloved character in film. In a community where George is seen as a guiding light, it is only Clarence that can save him from himself. Clarence is completely sympathetic and importantly empathetic with George’s problems. The audience watches the life of George Bailey through the eyes (literally and figuratively) of Clarence. With every classic hero there has to be a villain. This comes in the form of Mr. Potter (Lionel Barrymore) who owns nearly every business in town as well as a large portion of property, meaning that he owns its residents also. He is a depiction of the greed and capitalism that prevents the American Dream and leaves those who long for it struggling for the rest of their lives. He is a miserable old man with no family and friend and is only surrounded by his employees. Where George sees friends, Potter sees customers.

There is something nostalgic about watching this film. Not simply from watching it a thousand times since I was small, but something distant about the simple way of living in Bedford Falls. At its heart, It’s a Wonderful Life is in itself a simple film but it is only made complex when those who dare to dream almost thrive and are then shot down. The lovely touch of including Clarence, an angel who has yet to earn his wings, brings in a bit of magic while Capra’s clever direction keeps the magic to a minimum in a bid to make the film as real as it can be. In some ways, his vision of Potter is reminiscent of Scrooge in A Christmas Carol before he is visited by ghosts. It’s just as beautiful in black and white as well as colour, it will always leave you in tears of laughter and sadness.

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What It’s a Wonderful Life does so well is its neutrality in portraying the ordinary American life but showing the extraordinary achievements that a community can make together. It’s a film about the importance of family, being loved and loving others. There are many aspects from the film that could be brought through to today such as Potter’s ideals. It could be argued that most people live in Pottersville in this day and age. In a time of great challenge, it is nice to watch a film that shows people overcoming the odds. It’s a film that can never date because its a film about humanity and the chasing of dreams. I would forever argue that this is the best Christmas film because there is no grandeur in it and no attempt to be a big shot and big budget superstar film. It is a humble story of how one man’s life touches that of his family, friends and the community at large. George is a small piece of a much larger puzzle and it is only when he realises his own self-worth that he recognises the ability to pull the community together to stop Potter from destroying the town with greed.

What do you think about It’s a Wonderful Life? Let me know in the comments below!

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Sorry to Bother You (2018)

Another film that I have been meaning to see since its release, Sorry to Bother You is a brilliant study of capitalism in modern day America. Written and directed by Boots Riley in a fantastic debut, we follow Cassius “Cash” Green (Lakeith Stanfield) as he starts a career in RegalView, a telemarketing centre and his rise to the top after using his “white voice” to appeal to white middle-class America. His friends at RegalView, Squeeze (Steven Yeun) and Salvador (Jermaine Fowler) start a union to get basic benefits as the workers only receive commission. Cash quickly becomes a “Power Caller” and is taken to the top floor where he is tasked with selling slave labour on behalf of corrupt company, WorryFree, to large corporations around the world. In a society where money talks, we see Cash’s struggle intensify as he has to choose between security and his relationship with his girlfriend, Detroit (Tessa Thompson). The film flits between genres flawlessly, drifting from comedy to drama to science-fiction in a matter of seconds. It’s refusal to slot into a specific box and the ability to feel relevant shows Riley’s talent for screenwriting. There is so much going on in this film that adds layers and layers of subtext and it’s a testament to the racist and classist struggle that underlies modern society.

First thing to discuss is the direction and script. Despite the film being his directorial debut, Riley brings a film that looks as though he has done this for years. His vision is crystal clear right down to the colours of the doors. The film opens on Cash’s interview at RegalView as he attempts to blag his way to the entry job. He unsuccessful carries out a flamboyant lie which sees him take a huge trophy and employee of the month frame that he had made to make himself seem more impressive. From the get go, Riley establishes Cash as someone who is willing to do what it takes to achieve the American Dream. The capitalist aspect of this film is at the forefront but there are the racist undertones which are made more explicit as Cash finds himself among a rich, white society. Even at the point when he has achieved more than his colleagues on the bottom and top floors, he is still viewed as an outsider.

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This brings me onto the cast who all do a brilliant job, particularly Stanfield and Thompson. The chemistry they have is so natural and the audience feels the intensity when the relationship becomes strained. Cash’s conflict with identity and finding a purpose is one that resonates with a lot of people. He doesn’t fit in with any particular group of people and any stereotypes that society has of black people don’t fit at all. Detroit is an artist who is certain of her identity and has a clear view of the world. There is a literal divide for the characters as the morally sound people populate the bottom floor and live for pennies and the corrupt group working upstairs live extremely privileged lifestyles. We see in a matter of seconds Cash’s life shift as the material items are replaced more luxurious goods such as his car. The film’s dynamic editing is quickfire and snappy to portray the large scale changes that money can make. These material items and the apartment Cash buys detaches him further and further away from his friends. He soon begins to use his “white voice” without realising as his work persona starts to take over and change his personality. 

The point of view in the film is fairly radical in its ideas and the issues it raises are important. We see a Leftist group attempt to fight a large corporation who deal with trading weaponry and slave labour to other countries. Modern society looks at the history of slavery with disgust and yet those at the top are competing to have a slice of the pie when WorryFree’s plan for slave labour piques the interest of the powerful due to low cost and high productivity. Riley is quick to remind the audiences that the problems society had in the past haven’t truly gone away and that it merely embarks a different and more modern disguise. The idea of the call centre and sticking to the script literally brainwashes its employees and forces them to conform to an ideal that fits a white middle-class America. The Leftist group are made to look wild and are even mocked when they throw cans at the staff who try to enter the building with one particular can hitting Cash and giving him a huge cut on his head throughout the film. The wound becomes symbolic of his betrayal to the cause and the physical and metaphorical damage that has been caused by his willingness to partake in the selling of slave labour.

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Overall, this is a very strong film with a clear point of view that is important and relevant. It’s a shame that this didn’t get a wider release as I think this is a film that explores difficult themes in a unique way that pushes boundaries in a similar way that Get Out did.

What did you think of Sorry to Bother You? I’m assuming it’s positive because the film is bloody incredible! Let me know in the comments below!

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Top 5 Joaquin Phoenix Performances

Undoubtedly the man of the moment in the film that has the festival circuit buzzing, Joaquin Phoenix is the frontrunner for awards for his titular performance in Todd Phillips’ origin story Joker. During a film climate that seems dominated by superhero films, Joker seems like it is doing something entirely different by twisting the tone and idea of the superhero movie. It feels that after years of playing the underdog in Indie features and his reluctance to entertain the spotlight, the mainstream media has finally caught up. It feels only right that I compile a list of my top 5 performances although it’s very tricky to do so.

Here’s my top 5 in chronological order:

Gladiator (2000)

I never thought Gladiator would be in a top anything list. Truth be told, I find the film overwhelming overall but the one element of it I absolutely love is Joaquin Phoenix’s brilliant performance as the evil Commodus, the power hungry son of Marcus Aurelius who gives power to Maximus (Russell Crowe) until a new empire is formed. His lust for power knows no bounds as he murders his own father and has Maximus arrested. It’s Phoenix’s performance that brings the real depth to this film. He could have easily played this role as a cartoonish villain but instead brings a snakelike presence to the character. His strength comes from the power that others give him rather than strength that he has by himself which comes to fruition in the final fight scene with Maximus.

The Master (2012)

Undoubtedly my favourite Joaquin Phoenix performance, The Master follows ex-marine Freddie Quell (Joaquin Phoenix) as he becomes involved with a cult called The Cause, led by Lancaster Dodd (Philip Seymour Hoffman) and his wife, Peggy (Amy Adams). I won’t dwell too much on this film, mainly because I have written an extensive review for this film (which you can read here). Phoenix brings his A game to his performance and it truly is a career best. The scene where he initially undergoes “Processing” with Lancaster in which his darkest secrets and even darker past are revealed. It’s a brilliantly shot scene that brings together to titans of acting and should have won both Phoenix and Hoffman Academy Awards.

Her (2013)

Spike Jonze’s romantic Her shows a tender side to Phoenix in the role of Theodore Twombly, a depressed soon-to-be divorcé whose job is writing intimate letters for people who are too afraid to do so. He is so emotionally intense and yet detached at the same time as he begins a sexual relationship with his OS (voiced by Scarlett Johansson). Featuring a stellar cast that is rounded off by Amy Adams and Rooney Mara, this was one of the best films of 2013 and brought Spike Jonze a much-deserved Oscar for his screenplay. It’s a saddening portrayal of love and heartbreak in the 21st century. This is a film that easily could have fallen into ridiculous due to its eccentric plot but the sincerity that Phoenix brings to the role allows the audience to become truly invested in the plot.

Inherent Vice (2014)

Phoenix’s second collaboration with Paul Thomas Anderson brings renowned author Thomas Pynchon to the big screen in what is the only adaptation to date. Based on the drug-infused novel, Inherent Vice, we follow Doc Sportello, an alcoholic, drug-loving cop in 1969 as he tries to bring down a drug lord. It’s a hallucinogenic mesh of colour, music and Joanna Newsom who stars as a narrator only Doc can see. The film itself is hugely underrated, possibly due to the fact that it is too bizarre for a lot of people. Being a big fan of Pynchon, I was so excited to see how it would work adapting one of his books into film and it works perfectly. Phoenix is perfect casting and carries off Doc’s happy-go-lucky attitude with ease. He heads up a star-studded cast fantastically and commands the screen whenever he is on it. He brings the perfect amount of slapstick while also keeping the character’s dignity intact. It’s truly a brilliant film that I think is wrongly overlooked.

You Were Never Really Here (2017)

Lynne Ramsay’s gritty New York City based nightmare follows Phoenix as hitman, Joe, who lives and breathes violence and killing all while living with his elderly mother in his childhood home. He specialises in rescuing trafficked girls. He’s a character who’s backstory is stained with violence and abuse and there isn’t much else that he is capable of doing. He is quiet and alone but happy in his loneliness. When tasked with retrieving a Senator’s daughter from traffickers, Joe embarks on his hardest mission yet. The film is bloody and holds no punches. It’s brutal from beginning to end with devastating results. The direction and writing is super tight and brought both Phoenix and Ramsay prizes at Cannes Film Festival in a rare double win.

With the release of Joker, it seems that Phoenix is going to break into the mainstream and he’s the frontrunner come award season. It seems that these awards are long overdue. If it were up to me, he’d have a couple of oscars in his cabinet already but sadly that hasn’t been the case. I’d hope that those who are introduced to phoenix’s talents as the Joker watch him in other films and see his talents beyond that superhero universe.

I’ll be posting a review for Joker as soon as its released and I’m looking forward to seeing whether it would break into my top 5.

What do you think of my list? Do you agree or disagree? Let me know in the comments below!

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Ready or Not (2019)

These past couple of years have seen a resurgence in horror films and it seems that a lot of writers and directors are using the genre to push forward ideas and responses to the current political climate. Ready or Not is definitely among this class of horror film, incorporating messages on classism in an increasingly divided landscape where the rich appear to be getting richer against limited social mobility for the poorer. Led by rising star, Samara Weaving plays Grace, a woman who was raised in foster homes who finds herself marrying her dream guy who just so happens to be a part of a huge family dynasty that owns a large gaming company. When face with the odd tradition that she has to play a game before being a part of the family, it becomes a game of cat and mouse as the family attempt to kill Grace as part of a ritual.

The film definitely lives up to its 18 rating with f-bombs everywhere and gore galore that makes Midsommar feel like a Disney film. If Netflix’s The Babysitter was a mere introduction to Samara Weaving then Ready or Not has cemented her status as the newest Scream Queen. Grace is a brilliant character who is fully aware of her position as an outsider from the beginning. At first she attempts to resist playing the game but seeing the seriousness in their attempt to kill her, she is forced to become efficient and do things she never thought she would. With a brillient supporting cast including Mark O’Brien as Alex, Grace’s new husband, Adam Brody as Alex’s conflicted brother, Daniel and Andie MacDowell as Alex’s mum. It’s a film that shows the complexity of human nature as each of the characters are thrown into this unexpected situation.

The screenplay is brilliant and makes use the singular space that the film inhabits. Written by Guy Busick and R. Christopher Murphy and directed by Matt Bettinelli-Olpin and Tyler Gillett, this film could have easily fallen flat with so many creatives at the helm, particularly given the limited setting and characters but they fought the odds and came up with a film that is smart and tied together. The scene in which Grace is told the backstory of the family before selecting her game is hugely intense as the audience knows that they cannot trust anyone. The film is full of symbolism and pay offs, the most obvious being Grace’s wedding dress. The difference between how it looks at the start and the end really hits home the events of the film. Another aspect of the film that was unexpected is how funny it was throughout. Even in the most gruesome scenes, the writing is witty and on point as the clueless relatives try to deal with the prospect of actually killing someone. One hilarious relation, Fitch (Kristian Bruun), spends some of his time learning how to use a crossbow on YouTube.

You’ll have to withstand a lot of gore but it’s a fun film to watch and is definitely worth watching on the big screen if you get the chance. I think it’ll go down as a modern favourite for horror fans and I look forward to seeing what Samara Weaving does next.

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

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The Sworn Enemy in ‘The Master’

“If you figure a way to live without serving a master, any master, then let the rest of us know, will you? For you’d be the first person in the history of the world.”

  • Lancaster Dodd, The Master (dir. by Paul Thomas Anderson, 2012)

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By the time this statement is spoken, we have seen the relationship between ex-Naval officer, Freddie Quell (Joaquin Phoenix) and Master of the Cause, Lancaster Dodd (Philip Seymour Hoffman) flourish and burn. The scene in which this exchange happens is in London. Freddie has travelled the Atlantic to face off The Master once more. On entering The Cause’s headquarters, he is judged by those who know him and ignored by those who do. There is no physical conflict, no shouting, only two men who are saddened by the demise of their friendship and the realisation that they can never see each other again. The Master is the head of The Cause, a cult that believes they are spirits living in a vessel and once life ends in one vessel, they simply move on to the next. Dodd’s mission is essentially one that lasts for eternity. Freddie staggers in a drunken state onto Dodd’s boat after accidentally poisoning a man with moonshine he had made. Freddie is an ex-marine, unemployed, sex-addicted alcoholic, making him the perfect challenge for his new methods to engage with past vessels. Completely unhinged and uninfluenced by society, Freddie refuses to be reined in by the restrictions put to him by Dodd and his wife, Peggy (Amy Adams) resulting in the collapse of the American branch of the Cause and forcing Dodd to relocate to England.

The Master is regarded one of the best films of the 21st century so far and is one of my favourite films ever made (I have written a review which you can read here). Set in 1950, the film follows ex-marine, Freddie Quell, as he becomes associated with the Cause, a cult that believes that the spirit transcends the body (or vessel as is referred to) and simply changes after death. Although the film is set in a particular place at a particular time, its subject matter actually makes the film seem timeless. The characters wear clothes as expected of the time and the treatment of women and sex is reflective of the time but the sentiment transcends its period, much like the spirit, and can be argued as relevant in the 21st century. Of course, this film was made in the 21st century so it has the advantage of hindsight but I think Paul Thomas Anderson’s script captures the idea of the slave and master perfectly. The Cause is portrayed as a small religion, a friendly group of people who channel their past selves in order to eventually see where man began. Freddie is confused by everything and only wants to drink and have sex but these activities are rejected and he becomes uncomfortable and agitated. It is as though he is young again as we see flashbacks of him with his first love, Doris, before he leaves for war. There is hope in the young Freddie of returning home and marrying Doris but this dream is shattered on his arrival as he finds out she is married with two children. The Cause gives Freddie a purpose to live by hoping to engage with his inner self and control it, thus allowing him to become fully subservient to The Master.

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The ending brings the film full circle as Freddie has sex with a woman he meets in a pub and thinks about his time on the beach after the war, waiting to go home. The final shot is him sleeping beside a female form made of sand. It is peaceful and serene as Freddie appears comfortable. He has become “the first person in the history of the world” to live without serving a Master. He is the free spirit that Dodd achieves to ultimately control, the “sworn enemy” as he puts it.