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The Mitchells vs. the Machines (2021)

In a year that has seen Disney release three animated films (Encanto, Raya and the Last Dragon and Pixar’s Luca), The Mitchells vs. the Machines is here to help push the boundaries of the animation medium even more. The film follows Katie Mitchell (Abbi Jacobson), an aspiring filmmaker who is about to start film school, her dad Rick (Danny McBride), her mum Linda (Maya Rudolph), younger brother Aaron (Mike Rianda), and pug Monchi (Doug the Pug) and the chronicles how the familial relationships have become strained over time and the events that bring them back together. The titular “Machines” appear when a virtual assistant called PAL (Olivia Colman) is discarded for the next big thing and swears revenge on humanity. There’s a lot going on in The Mitchells vs. the Machines, but the way everything ties together means that the film is never overwhelming.

The film is directed by Mike Rianda who cowrote the screenplay with Jeff Rowe and is based on Rianda’s own personal experiences which he has combined with his childhood obsession with robots. The result is a film that on the surface is bonkers and filled with lots of fantasy and imagination but underneath has a beautiful and relatable story about family and the relationships we form with those around us. The personal connection that Rianda has is clearly there and this is portrayed through the realism of the relationships, especially the one between Katie and Rick as the two begin to find that they share a lot in common and are able to work together. The screenplay is not only innovative as Rianda also incorporates a variety of different mediums into the animation that makes it an explosion of imagination and a joy to watch.

Leading the cast is Abbi Jacobson, who voices Katie Mitchell. Jacobson brings her quirky charm to Katie and the passion that the character has for film. What is evident for Jacobson and the rest of the cast is that they have a lot of love for their characters and are unafraid to push their performances where they need to go. Katie is a brilliant character who has a lot of creativity and imagination and needs the resources to express herself. Not only is Katie resourceful and intelligent, she is also openly gay which is a huge step in animation and family films. The way in which this is brought into the film is subtle yet provides representation that is highly needed in family films.

There is a whole flurry of supporting actors who provide voices for characters you really root for. Playing Katie’s parents are Danny McBride and Maya Rudolph who voice her dad and mum, respectively. Both are great as they provide their signature humour to their roles. McBride is especially great as Rick as he brings through the inner struggle that the character has as he wants to be closer to Katie but can’t find the action or the words to do so and it is wonderful to see their relationship blossom throughout the film.

Olivia Colman has been gaining a lot of attention thanks to her amazing performance in Maggie Gyllenhaal’s film The Lost Daughter, but her supporting vocal turn in The Mitchells vs. the Machines is absolutely hilarious. Colman is immediately identifiable thanks to the sharp wit and charisma, despite voicing a phone and she really makes PAL feel like a huge threat and unstoppable force. It sounds like Colman is having a lot of fun with the role and it makes the film even more enjoyable to watch, while scenes with PAL are brilliant and among the highlights.

The Mitchells vs. the Machines has proven itself to be one of the most innovative animations released in 2021 thanks to its quirky blend of computer animation and live-action clips to create a world that is truly unique and unlike anything we have ever seen before. It manages to be groundbreaking in its execution while remaining gripping and funny throughout, making it the perfect film for all ages.

What did you think of The Mitchells vs. the Machines? Let me know in the comments below!

The Mitchells vs. the Machines is available to stream on Netflix now!

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Don’t Look Up (2021)

Netflix’s Don’t Look Up is one of the most talked about films of recent months thanks to the cast which is packed with A-listers. Adam McKay’s dark comedy follows a research team followed by Dr. Randall Mindy (Leonardo DiCaprio) who discover that a huge comet is heading straight for Earth and will destroy it within a matter of months. Mindy and researcher, Kate Dibiasky (Jennifer Lawrence) head to the White House to convince the President (Meryl Streep) to destroy the comet before it hits the planet. With plenty of storylines and characters, Don’t Look Up is a film that has garnered polarising reviews with some loving the message on climate change while others feel that the execution falls short.

The film is directed and written by Adam McKay, whose previous efforts include 2018’s Vice and 2015’s The Big Short which combine politics and comedy. McKay is interested in recent political events and Don’t Look Up is his take on climate change. What made The Big Short and Vice so effective is that they had a tighter focus on a few characters so the films had a better flow in terms of the writing and direction. Don’t Look Up is a film that is filled with the world’s biggest stars and McKay clearly wants to give everyone a fair share of screentime. Unfortunately, the result of which seems to be a who’s who of Hollywood and the writing is crammed with too many storylines that it seems jilted in structure. It feels like the screenplay needed to go through an extra draft to finesse the story and ensure that the film has a better flow.

Jennifer Lawrence plays researcher, Kate Dibiasky, who is credited with discovering the comet, which is suitably named Dibiasky Comet. Dibiasky appears to be the voice of reason throughout the film although doesn’t have the skills to communicate her view properly which angers the authorities. Lawrence’s performance is perfect as she captures Kate’s feelings of despair and her outspoken nature. It’s great seeing Lawrence and DiCaprio act opposite one another and it feels like Lawrence actually steals the show thanks to the amount of depth that she brings to the performance. Don’t Look Up allows us to see Lawrence in a different kind of comical role that we haven’t seen from her before and she delivers.

In the male leading role is Leonardo DiCaprio who portrays research leader, Dr. Randall Mindy. As always, DiCaprio can be relied upon to give a great performance which he does but it does feel as though his character isn’t given much to play with in the same way that Dibiasky is. There are certain decisions that McKay made for the character which seem a bit confusing such as having Randall embark on an affair with news reporter, Brie (Cate Blanchett) which doesn’t add a lot to the overall plot while taking up a lot of time. What is confusing about this development is that it contrasts to everything else we learn about Randall and the way he lives his life. His affair seems to show that he is just as bad and sleazy as the authorities who want to mine the comet for minerals. Despite this, DiCaprio does a great job with what he’s given.

The supporting cast is absolutely huge and is led by none other than Meryl Streep and Jonah Hill as President Janie Orlean and her son, Jason Orlean, who is also Chief of Staff, respectively. Having Streep playing a President was bound to happen sooner or later, but rather than be a reliable source of wisdom and leadership, Janie Orlean is manipulative and power and money-hungry, seeing the comet as a money-making opportunity rather than a threat. Jason also proves himself to be extremely under-qualified for his role and has clearly gotten to where he is thanks to nepotism. The role of Janie Orlean feels a bit underwhelming in terms of development, which is a shame when you have Meryl Streep in the role while Jonah Hill is clearly given the chance to improvise and do what his does best – insult people within an inch of their lives in a hilarious way.

Don’t Look Up is a film that wears its message on its sleeve, but the execution falls a bit short due to the screenplay, which tends to flit around a lot. McKay has proven that he can work with an ensemble task and has even won an Oscar for his screenplay for The Big Short, but the magic he creates blending comedy and politics seems a bit lost amongst all the characters. It feels as though some storylines don’t blend well with each other, which may be the reason it has had such polarising opinions. This isn’t to say that Don’t Look Up is a film without its positives, however, as Jennifer Lawrence provides an excellent performance and Jonah Hill is a comedic standout in a role that feels like a classic Hill performance but it’s a film that should have been more consistent in it’s storytelling.

What did you think of Don’t Look Up? Let me know what you think in the comments below!

Don’t Look Up is available to watch on Netflix now!

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2022 Awards Season

Awards season has begun once again and with such a turbulent year that has seen cinemas reopening and more studios utilising streaming services, there are an abundance of films that are competing for those big awards. What is wonderful to see about the offerings from 2021 is how well received films directed by women were with Julia Ducournau winning the Palme d’Or for her incredible boundary pushing film, Titane while Jane Campion has returned to feature filmmaking after a 12 year hiatus with her intricate character-led The Power of the Dog. The variety of films on offer this year prove that there is something for everyone which ensures that this awards season is going to be great.

As ever, I will be gathering all of the reviews for the films that will be competing for awards from best special effects to best picture and everything in between.

Here is the list of films to guide you through awards season 2022:

Ali & Ava

Annette

Being the Ricardos

Belfast

CODA

Don’t Look Up

Drive My Car

Dune

Encanto

Flee

The Green Knight

The Harder They Fall

House of Gucci

In the Heights

King Richard

Lamb

Last Night in Soho

Licorice Pizza

The Lost Daughter

Luca

Mass

The Mitchells vs. the Machines

Nightmare Alley

No Time To Die

Passing

The Power of the Dog

Raya and the Last Dragon

Spencer

The Tragedy of Macbeth

Tick, Tick… Boom!

Titane

The Worst Person in the World

Zola

I will be adding to this list as I see the films and am very excited to see how this awards season turns out!

Which films are you excited to see? Which has been your favourite so far? Let me know in the comments below!

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House of Gucci (2021)

Awards season sees the release of star-studded films and there are few films released this year that have an Oscar count as high as Ridley Scott’s House of Gucci. Following the true story of the assassination of Gucci heir, Maurizio Gucci (Adam Driver) at the hands of his estranged wife, Patrizia (Lady Gaga), House of Gucci is a two and a half-hour look into the public and private familial struggles of one of the most well-known brands in the world and the scandal that surrounds them. The film has garnered much discussion due to its American casting as opposed to an Italian cast as well as the tone of the writing which injects a lot of humour into a film that is based on a tragic true story. Boasting a cast that is led by Lady Gaga, Adam Driver, Jared Leto, Jeremy Irons, and Al Pacino, House of Gucci may not be perfect but it is a highly entertaining watch that keeps you gripped from beginning to end.

The film is Ridley Scott’s second feature to be released this year following The Last Duel which also starred Adam Driver. Scott’s directions feed into the melodramatic qualities of the story and the result is a film that is extremely camp, gripping, and filled to the brim with twists and turns as each member of the Gucci family has their own roles and motives. The screenplay was written by Becky Johnston and Roberto Bentivegna and was adapted from the novel The House of Gucci: A Sensational Story of Murder, Madness, Glamour, and Greed by Sara Gay Forden. The two and a half hour running time is a bit excessive as there are scenes that could have been edited or cut out without compromising the story but what this screenplay does well is show how Patrizia was more than just Maurizio’s wife and delving into her character so we see her side of the story. It is clear that this story has so many moving parts and different elements that bringing every detail in a feature-length film would be impossible but we are treated to a film that has a distinct tonal shift as the comedy-led first act soon takes a downwards spiral into the darker themes as Patrizia and Maurizio’s marriage begins to crack and fall apart.

Leading the incredible ensemble is Lady Gaga in her follow-up to her turn in A Star is Born which saw her nominated for an Academy Award for her performance and winning one for co-writing the song “Shallow” which became a huge hit. There has been a lot of discussion regarding Gaga’s accent in the trailer for House of Gucci with some people commenting that it sounded Russian rather than Italian; however, her accent throughout the film sounds more Italian. What is more important than the accent is the actual performance itself and there is no doubt that Gaga has done extensive research and provided a lot of dedication to become Patrizia. Where it was more difficult to differentiate Gaga from her character, Ally, in A Star is Born, there are points in House of Gucci where you forget that you are watching Gaga as she fully becomes Patrizia. Not only does this show Gaga’s ability to act against type but it shows that she is worthy of garnering the leading lady status that she has and proves her talent as an actress. Her ability to showcase the many sides of Patrizia is impressive, especially since there is a tonal shift in the film. Where Patrizia is initially charming and confident, she becomes desperate and troubled in the second half of the film as she wants to save her marriage and life from falling apart. This performance will undoubtedly bring Gaga a lot of attention during awards season and may see her receive her second Academy Award acting nomination.

Playing Maurizio Gucci is Adam Driver who turns on the charm as the heir to the Gucci Empire. Initially seeming reluctant to join the family business, Maurizio risks being cut off from the family when he falls in love with Patrizia, a woman who doesn’t have the same affluent background. However, as the film shifts into darker territory, we begin to see Maurizio lose his initial sense of self and individuality as he becomes the person he swore he would never be. Driver conveys Maurizio’s shift from aspiring lawyer to manipulative businessman perfectly as it doesn’t happen all of a sudden as he is pushed to carry out various schemes alongside Patrizia in a bid to control the Gucci brand. What is great about Driver is that he is a performer who can say so much without many words and this is important when it comes to Maurizio’s characterisation as he is a lot quieter and more observant than Patrizia.

One of the most conflicting aspects of the film is the supporting performances provided by Jared Leto and Al Pacino who play Paolo and Aldo Gucci, respectively. Paolo and Aldo are often used as comic relief throughout the film, especially aspiring designer Paolo whose fashion taste is questionable as Leto’s portrayal paints Paolo as someone who is completely oblivious while Aldo deals with the finances of the Gucci brand. Leto’s performance, in particular, has garnered a lot of love and hate thanks to its eccentric and over-the-top portrayal which feels brilliant in the context of the film but when taking into consideration the accuracy of the real Paolo Gucci and his life story, it appears as though the film is laughing at him and mocking his misfortune. Leto feeds into the camp and comic aspects of the film thanks to his use of physical comedy that saw him have a complete makeover for the role while Pacino feeds into the darker and dramatic aspects of the film as his version of Aldo fears about losing power and will do anything to hold onto it.

House of Gucci is a film that promises plenty of drama with twists and turns as character alliances shift in a bid to gain control over the family business. In the midst of the drama, it is quite easy to forget that this is based on a true story that had real and tragic consequences which have caused conversation among critics over whether the overall tone is appropriate for the subject matter. Regardless, it is a film that is filled to the brim with fantastic performances, especially from Gaga and Driver, while Yates’ costume design helps to bring the period to life and gives us a visual insight into how the characters express themselves.

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

House of Gucci is out in cinemas now!

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Spencer (2021)

One of the most anticipated biopics to be released this year was Pablo Larraín’s Spencer which is a new take on the biopic genre. Inspired by Diana, Princess of Wales and her life in the Royal Family before her divorce, Spencer is a fictional account of Diana’s time at Sandringham during Christmas where she spends time with the Firm, including the Queen. Starring Kristen Stewart as Diana as well as a slew of stars in supporting roles such as Timothy Spall as the fictional Equerry Major Alistair Gregory and Sally Hawkins as Maggie, a fictional Dresser, Spencer may not follow the conventions of biopics but the events are not what Larraín wants us to focus on and rather the emotions as well as physical and mental trauma that comes from Diana’s rare circumstance. Just like Larraín’s previous film, Jackie which explores Jackie Kennedy’s life a week following the assassination of her husband, President Kennedy, Spencer takes place over a short period of time and allows us to view the subject when thrown in uncomfortable situations as well as what she is like behind the scenes.

It is no secret that Spencer has generated a lot of controversy due to its approach as well as the accuracy of the events. The first words that appear on the screen is “A fable from a true tragedy” immediately striking a subtle, darker undertone that seeks to foreshadow Diana’s life and tragic death. Directed by Larraín and based on a script written by Steven Knight, Spencer is happy to venture into its otherworldly elements as it incorporates visions of Anne Boleyn, one of Diana’s ancestors as well as an astonishing dream sequence that runs through some of Diana’s most iconic outfits. Although it may not be an accurate account, we get a sense of Diana’s past and present as well as the glooming undertones of the future that awaits her.

Kristen Stewart is nothing short of spectacular as Diana and this performance will most likely see Stewart gain her first Oscar nomination. Stewart’s performance feels much more than a basic impression. Even when Diana thinks she is alone, there is always a sense that there is someone listening to her and watching her at all times. The performance is a reaction to the claustrophobia that Diana feels as every move she makes is closely observed even down to the clothes she wears and the way she walks when in public. Stewart encapsulates the hopelessness and claustrophobia that Diana feels when among the Firm as well as showing that hopeful side when she is with her children and dreaming of a life away from the Royals. Diana’s story has become a hugely popular source of inspiration as of late as she has been incorporated into the hit Netflix series The Crown and a newly released Broadway musical looks into her life as the “People’s Princess”. Spencer provides us with glimpses of Diana’s personal and private struggles including her experiences with bulimia as well as the mental and physical toll that being a Royal has. Stewart’s Diana aims to find an escape as she reflects on who she was before her marriage and looks ahead to the future where she can forge her own identity.

In support we see Timothy Spall as Equerry Major Alistair Gregory who is loosely based on David Walker. Having been tasked with keeping a close eye on Diana due to the amount of publicity and attention she has been receiving from the media, Alistair grows fond of her and tries to steer her down the right path without compromising himself. Initially it seems that Alistair is just a tool for the Firm but he sees Diana for the human she is and goes out of his way to try and stop her from going down the same path as her ancestor, Anne Boleyn. Spall’s performance is gripping and unpredictable and the scenes he shares with Stewart are full of tension as he keeps her in line against her wishes.

Sally Hawkins is endearing as Diana’s Dresser, Maggie, and it’s such a shame that she isn’t in the film more. Maggie seems to be the only person that Diana can trust and express herself with. Even in such a small role, Hawkins has such a presence that clearly impacts the main character in such a way that her sudden absence brings out fear in Diana. The scene in which Maggie and Diana sit on the beach and reflect on whether the former spoke ill of the latter is a clear display of how claustrophobic life in the Firm can be, even for those who simply work for them.

When it comes to cinematography, Claire Mathon has knocked it out of the park this year providing the camera work for Spencer as well as Céline Sciamma’s 2020 beautiful coming of age film, Petite Maman (you can read the review here). Despite these films being completely different in tone and topic, Mathon adapts accordingly while still providing a dreamlike quality in both that elevates the film from its reality-driven roots. Mathon’s approach feels as though the camera is moving naturally and doesn’t feel forced while also allowing the audience to really see these different sides to Diana in such a short space of time. It is thanks to Mathon’s ability to blend reality and fiction that Diana’s own reality and fiction become blended into one as she begins to feel the pressure and claustrophobia. The contrasts between the dark and trapped settings of the house with the natural light and openness of the outdoors further displays Diana’s inner conflict.

The score is another brilliant aspect of the film and is composed by no other than the incredible Jonny Greenwood. Greenwood’s score provides an underlayer of horror and tension to the film that highlights the darker undertones of the film’s subject. The piece that plays during dinner as Diana imagines herself eating the pearls from a necklace that Charles bought for both her and Camilla speaks volumes to the trauma that she is facing and the hopelessness that Diana feels as there is no solution to the problem that would benefit her.

Spencer is not a film that should be taken as a literal account but as a “fable” that perfectly displays the emotional turmoil and physical and mental struggle that Diana faced. Larraín and Stewart are a match made in heaven as their Diana is one that sees a silver lining amongst the hopelessness. It is sure to receive a fair amount of attention this awards season, especially for Stewart’s performance and Mathon’s cinematography. Visually stunning and filled with captivating performances and direction, Spencer is much more than a standard biopic and dares to look deeper into the subject’s psyche with great results.

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

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London Film Festival 2021: Roundup

THE POWER OF THE DOG (L to R): PHIL JONES (ASSOCIATE PRODUCER - 1ST ASSISTANT DIRECTOR), JANE CAMPION (DIRECTOR - PRODUCER - WRITER). Cr. KIRSTY GRIFFIN/NETFLIX © 2021

This year’s London Film Festival 2021 brought back some of the traditional elements of attending the cinema to see some of the films while others I had the pleasure of watching online. This hybrid experience made it both exciting and busy whilst also allowing me to see some of the biggest films of the year as well as some indie films I may not have had the chance to see otherwise (which is always a good thing!).

It’s become a little tradition to do a small awards at the end of each festival so it only makes sense to point out the highlights of my London Film Festival experience. From the Palme d’Or winning Titane to Jane Campion’s The Power of the Dog (her first film in 12 years!) to two of Ryusuke Hamaguchi’s new films, Drive My Car and Wheel of Fortune and Fantasy, there were so many films to see. In total, I saw 14 films with 3 of those being at Chapter Cinema in Cardiff (The Harder They Fall, The Power of the Dog and Titane) and the rest online, being successful in the online ballots for Petite Maman and Lamb so I got to experience the best of both mediums.

Here are the Smaller Pictures Winners of London Film Festival 2021:

Best Picture – Titane

Best Director – Julia Ducournau for Titane

Best Leading Actress – (TIE) Agathe Rousselle for Titane and Annes Elwy for Gwledd (The Feast)

Best Leading Actor – Benedict Cumberbatch for The Power of the Dog

Best Supporting Actress – Regina King for The Harder They Fall

Best Supporting Actor – Jason Isaacs for Mass

Best Original Screenplay – Julia Ducournau for Titane

Best Adapted Screenplay – Jane Campion for The Power of the Dog

Best Original Score – Jim Williams for Titane

Best Cinematography – Eli Arenson for Lamb

Best Editing – Julien Lacheray for Petite Maman

Best Production Design – Martin Whist for The Harder They Fall

Best Costume Design – Antoinette Messam for The Harder They Fall

Best Hair and Makeup – Olivier Afonso, Marison De, Amelie Grossier, Céline Llerena, Antoine Mancini and Flore Masson for Titane

Special Shoutout Winner – Ryusuke Hamaguchi for Drive My Car and Wheel of Fortune and Fantasy

The calibre of the films this year was so high and each film I watched had something important to say. With even more non-English language films being incorporated into the roster, it’s great to be given the chance to view even more films from around the world that I may not have had the chance to watch otherwise.

That’s it for my roundup! It’s been extremely busy and a lot of work but definitely worth it and makes me excited to see what next year will bring!

Here are the films I saw at this year’s London Film Festival in alphabetical order. My reviews for Gwledd (The Feast) and The Phantom of the Open were commissioned by Wales Arts Review so the link will take you to the page on their website:

Between Two Worlds

Boiling Point

Drive My Car

Gwledd (The Feast)

The Harder They Fall

Lamb

Language Lessons

Mass

Memory Box

Petite Maman

The Phantom of the Open

The Power of the Dog

Titane

Wheel of Fortune and Fantasy

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The Green Knight (2021)

Another film to suffer a delayed release date due to the pandemic, The Green Knight brings a new retelling of the Arthurian legend, David Lowery’s epic sees Oscar nominee Dev Patel lead the cast as Gawain, a man who aspires to be knighted and among the company of King Arthur (Sean Harris) and his knights. Whilst celebrating Christmas with the King, the mysterious Green Knight appears and poses a challenge which Gawain accepts. Garwain than must travel a year later to find the Green Knight and allow the latter to strike a blow against him. Based on the legend by Anonymous, Lowery immerses the viewer into the world through striking imagery and innovative sound mixing to create a film that was well worth the wait and more.

David Lowery directs and writes this stunning epic and has proven yet again that he is a force to be reckoned with. Not only is The Green Knight one of his most anticipated projects to date, it sees him collaborate with A24 yet again after the success of his previous film A Ghost Story. The result of which is a phenomenal film that shows Lowery’s mastery as a storyteller whilst also highlighting his growth as a filmmaker.

Dev Patel gives an exceptional performance as Gawain and shows just how far he has come as an actor. Following an extremely varied career which includes an Oscar nomination for 2016’s Lion, Gawain seems like the kind of role Patel was born to play. Due to the nature of the film following Gawain’s journey, a huge portion of the quality of the film relies heavily on Patel’s shoulders and it is his performance that elevates it to a level where you really feel as though you are with the character throughout. Patel’s Gawain is ambitious to a fault and most importantly inexperienced which becomes more apparent the closer he gets to his final destination. The scenes in which Patel encounters the Green Knight are captivating and leave you on the edge of your seat.

Taking on two roles in the film, Alicia Vikander delivers one of the best performances of her career as Gawain’s lover, Essel, a common woman who lives in a brothel and the Lady who Gawain meets on his journey to his encounter with Green Knight. These performances are so different that you could be forgiven for mistaking the roles for two different actresses, however, Vikander has already proven herself as one of the finest actors working. Her performances in 2014’s Ex Machina and 2015’s The Danish Girl are masterclasses in stunning performances with the latter winning Vikander the Academy Award for Best Supporting Actress. Her performance as Essel is sweet and innocent as she is happy where she is and her place in the world but longs for Gawain to publicly declare her as his lady. This flows in beautifully to her performance as the Lady who is more sinister and corrupt in her encounters with Gawain. Where Essel desires Gawain’s live and affection, the Lady seems to be driven by lust and sex. Despite their mutual fixation on Gawain, both characters have agency and individual motives that allow them to be strong and rounded in their development.

This film smashes every element but for me, the music composed by Daniel Hart is definitely a highlight. Mixing Medieval sounds with fantasy elements makes this score memorable and hauntingly atmospheric. From the use of Medieval instruments to the lingering choral chants, Hart creates music that utilises the time period and the environment that the world inhabits. Tracks such as “The Giant’s Call” are beautifully fitting as they seem to merge natural sounds within the environment with a perfectly crafted score. It’s as though the score goes hand-in-hand with the scenes, managing to accompany the image and stand out without actually overwhelming the film at any point. Perfectly nuanced yet wide in its range of tone, Hart’s score is one of the best of the year by far.

Overall, The Green Knight is spectacular film that deserves to be seen on the big screen. Definitely worth the wait, Lowery manages to tell an Arthurian legend in a way that hasn’t been done before and mixes this with high fantasy imagery. It’s a film that packs both a visual and emotional impact as we feel Gawain’s struggle to complete his journey physically and mentally.

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

The Green Knight is available to watch on Amazon Prime now!

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Everybody’s Talking About Jamie (2021)

Everybody’s Talking About Jamie is the latest in a slew of musical adaptations heading for the big screen and makes it mark with a bang. Based on the true story about a 16 year old boy who aspires to dress in drag at his high school prom, Everybody’s Talking About Jamie is an upbeat film about identity, difference and acceptance. The stage musical has taken the world by storm and is a mainstay on the West End having been nominated for numerous Laurence Olivier Awards and won many awards from awarding bodies such as the WhatsOnStage Awards. When the film adaptation was revealed to be in the works, there was naturally a lot of excitement as it has very big shoes to fill and it does not disappointment. From the heartfelt performances to the crisp choreography, Everybody’s Talking About Jamie can be viewed as a necessary film in this time of uncertainty and social negativity.

The film is directed by Jonathan Butterell who directed the original stage production when it was developed in Sheffield and based on a script by Tom MacRae, who wrote the book and lyrics for the musical which means that we are in reliable hands. There are certain changes that have had to be made but are necessary to help the story translate well on the screen. Equally, they have taken advantage of the fact that it is a film and allow themselves to push themselves cinematically to create a world in which the audience can truly be immersed and connected to the characters. Recruiting Butterell and MacRae as director and writer, respectively, allows the film to stay true to its roots and helps push the authenticity of the narrative and the community.

Leading the film is newcomer Max Harwood who does a stellar job as Jamie. He fits naturally into the role and truly captures every side to the character from his desire to perform in drag to the reality he has as an openly gay teen in a small community where he is bullied and encouraged to hide that side of himself. What makes Jamie such a fantastic character is that he is flawed which makes him more relatable and Harwood portrays him with no filter so we are able to see every side while still remaining likeable. With this film marking Harwood’s big breakthrough, it’s a great foreshadowing of what is to come in what is guaranteed to be a flourishing career. There has been a lot of debates about adults playing teenagers but although he is 24, Harwood does look appropriate and plays the role well with the maturity required so it isn’t distracting in the way that other films can be.

Playing Jamie’s mum, Margaret is Sarah Lancashire who can always be relied upon to bring a fantastic performance. Known primarily for her stellar work on TV, Lancashire is a great choice as she brings that authenticity to the role and has great chemistry with Harwood which makes their relationship seem completely believable. What is great about Everybody’s Talking About Jamie is that the majority of the supporting cast is made up of established working class actors which is incredibly important when it comes to onscreen representation, especially when it comes to British cinema.

As with any cinematic adaptation of a musical, there always has to be at least one A-lister among the cast and in this case we have Richard E. Grant as Jamie’s mentor, Hugo who also performs in drag under the persona Loco Chanelle. Grant is a fantastic actor and has shown throughout his career that he is capable of turning a great performance in any kind of film. Coming off the back of his Oscar-nominated turn in Marielle Heller’s Can You Ever Forgive Me?, Grant brings this character to life in a way where we really feel the struggles that Hugo has faced as an older gay man who lived through the AIDs epidemic. As one of the most versatile British actors working today, Grant was definitely the perfect choice for this role and no doubt should be thought about for awards consideration.

The way that the musical numbers are integrated into this film is incredibly important and Everybody’s Talking About Jamie does a great job of not just replicating the stage musical to the screen. From having some of the songs in the background to incorporating tracks from the conceptual album, the music feels different than the stage and this makes it great and feel more confident in itself as a film. With a wide range of songs on the soundtrack, some of the highlights include “Don’t Even Know It” in which we see Jamie’s dream as a drag queen and introduced to this side of him as well as Lancashire’s heart-breaking performance of “He’s My Boy” in which she laments the struggles and rejection Jamie faces from his father. The film’s ability to shift emotionally is portrayed perfectly through the music without feeling stagey or unnatural.

Overall, Everybody’s Talking About Jamie is a fantastic adaptation that makes the appropriate changes so it works well onscreen and allows the audience to get to know the characters. With perfect casting and great performances from the leading and supporting cast, this film is incredibly enjoyable and an ideal choice for those wanting a new and exciting film that leaves you feeling upbeat.

What did you think of Everybody’s Talking About Jamie? Let me know in the comments below!

Everybody’s Talking About Jamie is available to watch on Amazon Prime now!

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Annette (2021)

One of the big films to come out of this year’s Cannes Film Festival was Annette, the English language debut from French director Leos Carax. Following the relationship between controversial stand-up comedian, Henry McHenry (Adam Driver) and famous soprano, Ann Defrasnoux (Marion Cotillard), Annette is an epic in terms of the various themes it explores as well as the cinematic scope. Running at a staggering 140 minutes, Annette features music written by Ron and Russell Mael of Sparks who cowrote the script alongside Carax and the result is a mind-blowingly wonderful experience that is unlike any film you have ever seen.

Annette sees Carax return to film after 2012’s Holy Motors and is his first English language film. What is fantastic about Carax’s approach to the film is how ironic and aware it is from the opening number all the way to the end. We are informed that we are watching a performance through the medium of performance and it is this layering of dark comedy and contrast that saw Carax win the Best Director award at this year’s Cannes Film Festival. On the surface, Annette may seem like a lot in terms of its various genres and themes but Carax handles it with ease and allows the film to develop organically. The script by Carax and Sparks takes us through a variety of different themes with some taking more prominence than others. Arguably, the most important theme observed in the film is celebrity, how distorting fame can be and how a public persona can overwhelm a person’s psyche to the point where reality and fantasy collide. Just in the way Annette plays with different themes, it is Carax’s way of merging musical, drama, romance and dark comedy that makes it exciting and unpredictable to watch.

Adam Driver delivers a career-best performance as Henry McHenry. From the first set that we see, McHenry never allows the audience in to what he is thinking and what his motives are. Driver’s performance is extremely visceral and layered as he fully encompasses McHenry on a physical and emotional level. Immediately grabbing the audience’s attention, McHenry lives for controversy and aspires to have his name in lights while simultaneously denouncing fame in his act. As Ann’s star rises and his wains, we begin to see McHenry’s public persona and his real personality begin to clash as he struggles to regain control of his public life which then filters into his personal life.

Playing Ann Defrasnoux is Oscar winner Marion Cotillard who is breathtaking as the soprano on the rise. Compared to McHenry’s unpredictable and controversial comedian who improvises his set, Defrasnoux is poised and controlled which is shown through her repeated performances that are lauded among critics and the public. Ann is more reserved than Henry and this seems to go in her favour as Henry begins to implode in his career while her career goes from strength to strength. Cotillard brings her best performance in years and again showing what makes her one of the great living actresses. Her turn as Ann is one filled with sorrow and hope simultaneously as she strives to do what is best for Annette and her relationship with Henry but as it begins to fall apart, she realises that there isn’t much that she can do.

Simon Helberg provides a fantastic supporting turn as The Accompanist, Ann’s pianist and aspiring conductor. Helberg is in it briefly throughout the first half but really comes into the film’s main plot in the second half where he is able to bring a beautifully nuanced performance that is full of bittersweet melancholy. His love and affection for Annette is clear as he reluctantly agrees to take care of her while Henry spends all of the money on his party lifestyle. Helberg may not be in a lot of the film’s 140 minute running time but he makes the most of it.

As Annette is a musical then it is important to discuss the music and songs. Written by Ron and Russell Mael of Sparks, the music is a key component in the film in many different ways rather than simply telling the story through song. We learn more about the characters through their style of music and how they sing with the main contrast being Henry’s aggressive rock-fuelled anthems that incorporate his audience and Ann’s operatic performances in which she is observed by the audience as she sings by herself. In a way, the music serves to tell us more about the protagonists and acts as a way to foreshadow in both a literal and figurative sense.

Overall, Annette is a unique film that truly subverts every misconception that comes with the musical genre. As musicals are seeing a resurgence in recent years and many stage shows are being brought to the silver screen, Annette is a shining example of the musical’s place in modern cinema thanks to its originality and complexity. Musicals are often viewed as an accessible art form but it’s the film’s reluctance to let the audience in that makes it such a uniquely challenging and rewarding film to watch. Thoroughly deserving of the praise it is receiving, Annette may not be an easy film to digest but it gives the audience plenty to think about and discuss once the credits have finished rolling and that is the sign of truly great cinema.

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

Annette is available to watch in cinemas now!

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In the Heights (2021)

IN THE HEIGHTS, Anthony Ramos, 2021. ph: Macall Polay / © Warner Bros. / courtesy Everett Collection

One of the biggest releases of the year so far is In the Heights. Based on the stage musical of the same name by Lin-Manuel Miranda, In the Heights follows the community of Washington Heights, a Latin dominated neighbourhood where everyone has dreams and does everything they can to achieve them. The protagonist of the film is shop owner, Usnavi, who dreams of returning to his native Dominican Republic one day and whose shop is hugely important to the community. As we explore the lives of those around him, we see the trials and tribulations that the Latin community faces against many issues including racism, increasing gentrification and basic human rights being compromised. The original stage musical first premiered in 2005 and went on Broadway in 2008, winning a slew of Tony’s and putting Lin-Manuel Miranda’s name on the map. The film is written by Quiara Alegría Hudes who also wrote the original book for the stage musical and directed by Jon M. Chu, In the Heights explores its subjects in a way that feels timeless and just as relevant today as it was back when it was first staged.

Although Hamilton may be the play that Miranda is known for among the masses, In the Heights was his first musical and was a huge success among theatre fans across the world. When listening to the music from both, it’s amazing to think that they were composed by the same man because of how different they are in style and tone. In the Heights is a celebration of Latin music, combining an array of cultural touches with contemporary US hip hop and rap. Each character has their own distinct type of song which gives the audience a sense of their personality. From Usnavi’s unpredictable raps to Nina’s lamenting ballads, each song sounds totally different from the other and yet it flows effortlessly. What is great about this film adaptation is that the songs have been rearranged and altered slightly to naturally fit in with the context of the film. A lot of musical film adaptations forget that film is an entirely different medium and it may not look static and unnatural. Due to the amount of rap and dialogue during the songs, alterations have been made to fit in properly with the medium and it makes it a more exciting watch as you don’t know what to expect. Some of the storylines had been changed as well to take away some negative events such as the looting of the store in order to give the film an overall positive vibe which allows it to work well as a feel-good summer film.

Anthony Ramos leads the film as Usnavi and has big shoes to fill (Miranda originated the role on Broadway) but does so with ease. Although we are getting a broad glimpse of life in Washington Heights, it is Usnavi’s storyline that chugs the film along so it was important to get the casting right. Ramos has more than proven himself capable having previously performed as Sonny on a previous regional tour as well as originating the role as John Laurens/Philip Hamilton in Hamilton. Ramos has a natural presence that makes his Usanvi instantly likeable. Even those who aren’t familiar with the musical will want to root for him and find out more.

In support, there is a great cast who help bring the beloved characters to life. Corey Hawkins and Olga Merediz as Benny and Abuela Claudia, respectively. Benny is Usnavi’s best friend who works in the local dispatch and is highly energetic with big dreams to become a successful businessman and someday run the dispatch himself. Hawkins brings that enthusiasm and charm needed as well as nailing the song “Benny’s Dispatch” which has a really difficult rap but he does this with ease. The friendship between Benny and Usnavi feels completely authentic and it’s clear that the actors had a great experience performing together. One of the original cast members on stage was Merediz who reprises her role as Abuela Claudia for the film. Claudia is the glue that holds the community together and her motto “Paciencia y Fe” is something that the community lives by, as well as being the name of her big number. The song follows Claudia’s life as a young girl from Cuba moving to New York with her mother and how they learned to adapt and survive in a completely different world. The sequence itself is beautifully directed and is one of the best numbers in the whole film. It is then followed by my personal favourite song, “Alabanza” which I think is one of the most beautiful songs in any musical and for the emotions of the song to come through, it relies on the influence of Claudia among the community and you’ll surely be in a lot of tears.

In the Heights is a phenomenal achievement that deserves to be shown on the big screen. Chu manages to replicate that vibrancy and spirit of the Washington Heights community and inject it with bold direction and stunning use of camerawork and colour. With a couple of Miranda related Easter eggs hidden in the film, it’s sure to be fun for theatre and film fans alike. A particular highlight is seeing Miranda play the role of Piragüero known fondly as the Piragua guy and his rivalry with the Mr. Softee Truck Driver who is played by Christopher Jackson (who originated the role of George Washington in Hamilton). Whether you are a fan of musicals or not, the story and its message are sure to resonate with you and leave an impact long after the credits have finished rolling.

What did you think about In the Heights? Let me know in the comments below!

In the Heights is available to view in cinemas now!