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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!

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Review

CODA (2021)

There are some films that have humble begins and then grow in publicity and popularity unexpectedly. This year’s dark horse is undoubtedly, comedy-drama CODA, which has had a huge awards’ presence, and even been grabbing some unexpected wins. The film follows Ruby Rossi (Emilia Jones), who is a CODA (Child of Deaf Adults), and her experiences as the only hearing person in her family. As Ruby discovers that she loves music and singing, complexities arise, especially as her family set up their own fishing business. CODA’s achievements shouldn’t be ignored as 40% of the film is American Sign Language, which is a brilliant way of raising awareness and promoting inclusion within the film industry. The cast of Ruby’s family consists of Daniel Durant (who plays Ruby’s brother, Leo), Troy Kotsur (who plays Ruby’s father, Frank), and Oscar winner Marlee Matline (who plays Ruby’s mother, Jackie).

The film is written and directed by Siân Heder and is her second feature following her 2016 debut, Tallulah. CODA is a remake of the 2014 French film, La Famille Bélier, which did exceptionally well in the French box office on release and was nominated for numerous César Awards. Heder’s script relocates the story to a fishing community in Massachusetts, but maintains the main story element that the protagonist discovers that she loves singing and wants to audition for a place at a prestigious music school. What Heder’s script does really well is bring a great level of characterisation to each member of the Rossi family as the film chronicles the familial relationships and conflicts that Ruby has with each member. The direction shows life through Ruby’s eyes and rarely diverts from this with only a handful of scenes not involving Ruby included in the film.

Emilia Jones takes on the lead role of Ruby and proves to be the perfect casting choice. Jones has been slowly adding to her resume in recent years, providing brilliant performances such as the lead character in Catherine Linstrum’s 2019 film, Nuclear. It is this film, however, that has proven to be her big breakout performance and even garnered Jones a BAFTA nomination for Best Leading Actress. Ruby is a great central character thanks to her relatability as an awkward teenager trying to fit in, but her situation as a CODA makes her the prime target for bullies in school. When she realises that she can sing and wants to embark on a music career, familial conflict ensues as she won’t be able to act as her family’s interpreter. Jones perfectly captures Ruby’s dilemmas and internal conflict as she strives to follow her own dreams.

One of the big reasons why CODA was able to secure financing was thanks to Marlee Matlin, who stars as Ruby’s mother, Jackie. Matlin made history as the youngest winner of the Best Leading Actress Oscar in the 1986 film Children of a Lesser God and her career has proven to be vast, spanning across film and TV. Jackie and Ruby’s relationship is highly turbulent throughout the film, as they don’t seem to have a lot in common. When Ruby realises that she loves to sing, Jackie can’t understand as she had planned Ruby’s role in the family business. Although the role is fairly small, Matlin makes the most of every second she is onscreen, and it’s clear that she is having a lot of fun in the role. What is great is how developed Jackie’s characterisation is as the mother-daughter relationship goes through highs and lows.

The highlight of the film is undoubtedly Troy Kotsur in the role of Ruby’s father, Frank. Every time Kotsur is onscreen, he commands attention thanks to the amount of heart and depth that he brings to the character. Frank’s financial and social turmoil are brilliantly chronicled in the film. What makes Frank such a brilliant character is the mix between humour and drama that he goes through, and his scenes are among the most memorable in the entire film. The scene in which Frank lectures Ruby and Miles (Ferdia Walsh-Peelo) on safe sex is among the funniest moment in the film. The scene following Ruby’s school performance, in which Frank asks her to sing the song from her recital while feeling her vocal cords. Through doing this, he is able to experience the emotions of the song, and it’s one of the best scenes in this Oscar race and is why he is deserving of the Best Supporting Actor Oscar.

One important aspect of CODA is its soundtrack. The score is composed by Marius de Vries who incorporates calming, whimsical instrumental tracks that invoke the small fishing community which is then contrasted by an array of song covers that are beautifully sung by Emilia Jones and fellow members of the choir. The film’s climactic moment, in which Jones sings a cover of Joni Mitchell’s “Both Sides, Now” as part of her audition for college will bring tears to your eyes as she notices her family in the audience and begins to sign the lyrics for them. The music is imperative to the plot of the film and in the end, is made inclusive for all characters and the way that this is done helps to bring the family together.

CODA has proven itself to be The Power of the Dog’s main competition and may even cause a huge shock by taking home the Best Picture Oscar next Sunday. Heder’s film is one that is filled with a lot of heart and amazing performances, especially by Kotsur, who is the favourite to bring home the Best Supporting Actor Oscar, and Matlin. Although some may find that the feel-good nature of this film is overwhelming, CODA has the performances and writing to back up a great story with a wonderful message. Although Ruby’s situation is not experienced by the majority of families, the familial conflicts and way that the relationships are portrayed feel universal and relatable.

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

CODA is available to watch on Apple TV+ now!

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Review

Belfast (2021)

When it comes to award season, there are a few films that make their way into the majority of nomination fields and acquire a high number of Oscar nominations. Kenneth Branagh’s autobiographical drama, Belfast is one of those films this year and follows Branagh’s experience as a child in the titular city during the late 1960s when The Troubles began. The film focuses on protagonist, Buddy (Jude Hill), based on Branagh himself, and the period in his life when Protestant loyalists begin to target the homes and businesses of the Catholics on Buddy’s street. We see Buddy in all aspects of his life, but mostly the time that he spends with his Ma (Caitríona Balfe), Pa (Jamie Dornan), Granny (Judi Dench), and Pop (Ciarán Hinds) as the political turmoil in Ireland begins to grow increasingly dangerous and resulting in a potential move to England to escape. It’s a unique look at a tragic period of time through the eyes of a child, so we see The Troubles in glimpses and glances.

The film is both written and directed by Kenneth Branagh, and it is clear from the offset that this is his most personal project to date as we are introduced to a montage of present-day Belfast before we are transported to the same area in the past in black and white. The film is undoubtedly autobiographical, but Branagh chose to change names and even calls the protagonist, Buddy, who is based on himself. The screenplay is written from Buddy’s perspective as a young boy, meaning that the audience is provided with snippets of the real life chaos that was taking place. This serves to hinder and serve the film as on one hand, it provides a unique perspective on the topic while also meaning that we are not introduced to the full threats that were drawing closer and closer if the film had a more generalised viewpoint.

Despite the long list of stars in Belfast’s line-up, the cast is actually led by newcomer Jude Hill who plays protagonist, Buddy. It could be understandable for a newcomer, even more so a nine-year-old, to be intimidated by a slew of stars as well as Branagh, but Hill takes it all in his stride. From the moment he appears onscreen, it’s clear that the film is in safe hands as he is deeply entertaining while maintaining the innocence to the political conflict that is happening around him. The opening scene in which we see the Protestant militants attacking the Catholic homes on his street perfectly demonstrates the end of innocence as Buddy has to deal with the real-life problems that he and his family face, especially as his Pa is increasingly pressured to join the Protestants in their fight. Despite the problems going on around him, Buddy is just like any other child and has his interests, mainly his love for films and there are scenes dotted through the film of his trips to the cinema, which is clearly drawn from Branagh’s own love for cinema and Belfast is clearly a love letter to his childhood and the place that helped him to develop this passion.

There is an abundance of supporting characters in the film and one of the best performances goes to Caitríona Balfe who is magnificent as Buddy’s mother. There is a lot of unspoken characterisation to “Ma” and Balfe brings this forth perfectly. Buddy idolizes his father who works away for long periods of time while his mother has to run the household and raise Buddy and his brother, while simultaneously dealing with the political conflicts going on. There are glimpses of her struggles as Buddy listens in on her desperate calls to her husband while he is working, and we see her facade begin to crack as she has to remain strong for her boys. What makes Balfe’s performance so brilliant is how resonant and relatable it is and the fact that she has been snubbed in the Best Supporting Actress category at the Oscars is one of the biggest snubs, especially since Judi Dench’s performance doesn’t have the same level of impact.

When it comes to the supporting male actors, the best performance easily goes to Ciarán Hinds who portrays Buddy’s grandfather, “Pop”. His performance is the perfect example of a small role that has huge influence over the film and its storyline. From his first scene through to his health deterioration, Pop is the foundation of Buddy’s family and acts as Buddy’s father-in-lieu when his father is working away in England. Hinds is charming and lovable as Pop, serving as Buddy’s life coach when the latter is unsure how to approach a girl he likes in class while also providing plenty of wisdom during the turbulent times by helping Buddy to understand what is going on around him. Hinds’ final scene is by far the highlight of the film as this is when the story is brought to its emotional climax and the family foundation is broken and begins to fall apart, reflecting the surrounding society.

Belfast is sure to be a crowd-pleaser and shows a different side to Branagh’s creative output that we haven’t really seen from him before, while also giving him the chance to be vulnerable as a filmmaker. It may not always pack the punch that it wants to, but there are some really beautiful scenes and with Balfe and Hinds’ exceptional performances, Belfast is a film that definitely deserves a watch.

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

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Flee (2021)

This awards season has the regular frontrunners and blockbusters included in the mix, but one film that has taken critics and cinema goers by storm is animated docudrama, Flee. Executive produced by Oscar-nominee, Riz Ahmed and Nikolaj Coster-Waldau, Flee is the true story of Amin Nawabi, an Afghan man living in Demark who was forced to flee his native country when extremist militants begin to attack “non-believers” in Kabul. Not only does Amin have to grapple with the challenges of being a refugee and seeking asylum in a safe country, but he also comes to terms with his sexuality as a gay man. Flee marks itself as both a statement on the trials and tribulations that come with fleeing war-torn homelands and having to find a new place to call home, while also serving as a complex character study as Amin’s unique perspective is one that has clearly touched and resonated with many viewers.

The film is directed by Jonas Poher Rasmussen who is credited as a writer alongside the film’s subject, Amin Nawabi. It is apparent that the two have known each other for a while, which makes the film lovely to watch as they have a wonderful rapport. Rasmussen doesn’t pressure Nawabi into saying anything he isn’t comfortable saying, and even asks him to reflect on his childhood first before discussing anything that may be uncomfortable for him. The rapport between the two men is great and means that the script itself and the discussions have a natural flow and work well with the animation format, as we are able to see the world through Amin’s eyes. By using animation, Rasmussen is removing his own presence and placing more emphasis on Nawabi and ensuring that the story is at the heart of the film and the main focus, rather than the usual format of following a subject round with a camera.

The animation style is incredible, and it’s great to see the film included in the Best Animated Feature race at the Oscars. What makes the animation such a huge draw for the film is how the animators change the style depending on what is being said. The film opens up with an abstract and minimalist animated segment of people running away. This segment turns out to be the fabricated story that the traffickers told Amin to tell the Danish authorities in order to gain asylum and lends itself to the idea that the animation is not clear and complete. This contrasts to the majority of the film that has bright and vivid animation with clear-cut lines and plenty of vibrancy and movement throughout to indicate the certainty of Amin’s story.

The music is composed by Uno Helmersson and it is so expressive in that it feels as though it reflects the emotions that Amin is going through. Incorporating elements of Afghan-inspired sounds with dramatic pianos and violins, it seems as though Helmersson has used Amin as the inspiration for the music and transferred his identity and his story into the music itself. The track “Running Hiding” plays as Amin and his family desperately try to avoid capture from the militants with fast-paced bells to signal the intensity of the situation. This is immediately followed by the deeply melancholic, “Fleeing Kabul”, which places more of an emphasis on the sadness of having to leave home and not knowing where to go.

Flee has been listed as one of the best films of 2021 and with good reason. The combination of animation and documentary is seldom seen but works beautifully to tell Amin’s story. What Rasmussen and Nawabi achieve is a film that has a powerful message that is also innovative in the way that it is made. The great thing about films is that they allow us to learn from other people and hear their stories, and Amin’s story is one of huge importance in a landscape where so many people struggle to find a safe place to belong.

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

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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!

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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!

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Licorice Pizza (2021)

One of the most critically acclaimed films to come out of 2021 is Paul Thomas Anderson’s newest release, Licorice Pizza. The film follows the unlikely meeting of teenager actor, Gary Valentine (Cooper Hoffman) and photographer assistant, Alana Kane (Alana Haim) and the subsequent turbulent relationship that develops between them. Although Gary and Alana have very different backgrounds, they both have passion and ambition to better themselves and it is this drive that they have that leads into their adventures and the events of the film. Anderson’s ability to create fully-rounded characters that have talents and flaws is what makes Licorice Pizza so captivating.

As expected of an Anderson film, Licorice Pizza is filled with well-written characters, a character-led storyline and is beautifully directed. However, Licorice Pizza has not been without controversy thanks to the age gap between the protagonists with Gary being 15 and Alana being 25, especially as their relationship begins to grow closer. The age gap does make Licorice Pizza uncomfortable to watch at times because Gary is underage. However, as with any Paul Thomas Anderson film, there is much more going on aside from the protagonists relationship. We see Gary and Alana’s separate personal lives and thr colourful characters that they encounter such as Jon Peters (Bradley Cooper) and a heartbreaking storyline with local politician, Joel Wachs (Benny Safdie). Anderson’s eclectic mix of real characters, characters based on real people and fictional creations helps to create a California that is true to his style and vision.

Alana Haim has proven herself to be one of the standout newcomers of 2021. She has already shown that she is an incredibly talented musician as she is a member of the band, Haim with her two sisters who play her sisters in the film as well. What makes Haim such a joy to watch is the charisma that she brings to the character. We don’t always understand Alana’s choices and may not agree with them, but there is something about Haim’s performance that keeps the audience watching. We feel the frustrations that Alana has as she deals with a bunch of kids that don’t have the same understanding of the world as she does, while simultaneously finding herself overwhelmed by the pressures from the older generation. Alana simply wants to find a place where she belongs and her journey leads her to Gary. She knows that embarking on a relationship with Gary is wrong due to his age, but she is constantly drawn back to him. Her attempts to reject her feelings fail as she finds herself in harm’s way while on a date with actor Jack Holden (Sean Penn) while differing religious beliefs get in the way of her blooming relationship with Lance (Skyler Gisondo).

To play the role of Gary, Anderson bestowed the task upon Cooper Hoffman, son of the late great Philip Seymour Hoffman. Marking his film debut, Hoffman proves that he has what it takes to not only lead a film, but to do so with the charisma and charm that feels resonant of his father’s work. Gary is a confident character and adamant that he knows what he wants. In the film’s opening scene, we see him meet Alana and tell her that she is the love of his life. Despite only being aged 15, Gary’s life is filled to the brim with adult responsibilities. He is an actor and businessman, running a waterbed business and a pinball arcade during the film’s timeline. It’s easy to forget that the character is only 15 due to the high levels of responsibility and common sense that he has. On the other hand, he is extremely naive and believes that the world revolves around him. Anderson’s decision to have both protagonists played by newcomers is incredibly smart as they bring that starry-eyed ambition to the roles that perhaps a veteran would not have been able to do.

Paul Thomas Anderson’s films are known to be filled to the brim with stars and although he has newcomers in the leading roles, he makes sure that he has an A-list cast in support. The highlight of the supporting cast is Bradley Cooper as Jon Peters in what is a deeply unsettling and neurotic performance that captures Peters’ unpredictability perfectly. From the moment he appears on the screen, the tone of the film instantly shifts as he is deeply threatening in delivery while masking his threats in comical analogies and metaphors. The entire storyline that involves Peters is the best sequence in the film and this is thanks in part to Cooper’s intense portrayal.

Jonny Greenwood returns for his fifth collaboration with Paul Thomas Anderson and as expected, it is fantastic. Unlike other Anderson films, Licorice Pizza is dominated by songs from the 1970s in its soundtrack and doesn’t utilise Greenwood’s score as much. When we do hear Greenwood’s tracks, he takes advantage of the romantic undertones of the story as the music is filled with the longing that the characters have for each other. 2021 has been a busy year for Greenwood as he has also composed the music for Spencer and The Power of the Dog and it’s amazing to hear how different each soundtrack is while managing to maintain his own identity throughout.

There are aspects of Licorice Pizza that feel uncomfortable at times, primarily the age gap between the protagonists and the way their relationship is portrayed. However, there is no denying that the film is beautifully shot and is filled with fantastic performances, especially from Alana Haim and Bradley Cooper. Licorice Pizza is a nostalgic nod to 1970s California and transports us to the world behind the scenes of Hollywood in a way that hasn’t been done before.

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

Licorice Pizza is out in cinemas now!

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The Lost Daughter (2021)

One of the big favourites to come out of the 2021 festival season was Maggie Gyllenhaal’s directorial debut, The Lost Daughter. The film follows Leda Caruso (Olivia Colman), a college professor who has ventured to Greece in order to finish her current project. Whilst there, she encounters Nina (Dakota Johnson), a young mother who has come to the resort with her large family, who struggles to deal with the pressures of motherhood and what is expected of her in the role of mother and wife. The film is an intricate look into what it means to be a woman and the pressures that society puts on women. As Leda reflects on her own life, which we see in flashbacks with Young Leda (Jessie Buckley) and the decisions she has made over the years, the film’s dynamic shifts between drama and thriller as Leda begins to become more involved in Nina’s life and finds herself in a compromised situation.

The film is directed by Maggie Gyllenhaal in her debut which she also wrote, with the script based on the novel of the same name by Elena Ferrante. From a technical standpoint, this film is beautifully made with captivating direction from Gyllenhaal, while the screenplay unfolds slowly, so we get to see what lies under Leda’s surface. The film starts in the present day as Leda stumbles on the beach at night and lies unconscious at the water edge before going into a flashback and showing the events that have led to this. Gyllenhaal has a brilliant understanding of the character, and the way that she conveys Leda’s struggles adds plenty of intensity that elevates this film into one that feels threatening and uncomfortable at times. As Leda becomes more involved in Nina’s life to the point where it becomes obsessive, she begins to become reflective and contemplates on her life while the current situation spirals out of control.

Olivia Colman is one of the best actresses working at the moment, and The Lost Daughter showcases her range and her ability to lead a character-driven film. Her performance as Leda is not only one of the best performances of the year and guaranteed to get her a slew of award nominations. The character of Leda is brilliantly written, and Colman proves to be fantastic casting. Colman’s Leda is an accumulation of the decisions that we see through the flashback scenes, so her performance feels more rewarding the more we learn about the character. Colman’s performance is nuanced and makes this film as brilliant as it is. We may not understand why Leda does certain things and why she chooses to do them, but it is this unpredictability that makes The Lost Daughter such a gripping film from beginning to end.

The film revolves around Leda and her life leading up to the present day and beautifully merges flashbacks that show her journey and success. Playing Young Leda is Jessie Buckley, another actress who has risen up the ranks in recent years and another example of perfect casting. Young Leda’s life is inundated with chaos as she tries to juggle her studies with caring for her young daughters, Bianca and Martha, meaning that Buckley’s performance is more expressive as we see the physical and mental strain that her life has taken. Leda’s relationship with her young daughters is highly turbulent, and she begins to enjoy the time she gets to spend away from them, eventually leaving them to pursue her academic career. Buckley’s performance complements Colman’s perfectly as they capture Leda’s personality flawlessly in a way that feels seamless.

Dakota Johnson plays Nina in a role that may be small but has a huge impact on the film. Marking a career best for Johnson, Nina is a woman who struggles between living a life that she wants and the one that is expected of her by her family and society at whole. Nina is on holiday with her daughter, Elena, and family, while her husband flits in and out due to work. When Elena goes missing, things become chaotic and Nina begins to doubt her role as a mother. After Leda finds Elena and returns her, Nina becomes indebted to Leda and wants to get to know her, but is kept at arm’s length. When we see Nina, it is usually from Leda’s standpoint as an observer, as we see her struggle to be a good mother and wife. Johnson really excels in her final scene, in which she confronts Leda as the latter admits that she stole Elena’s doll. What Johnson does excellently in the film is put across Nina’s inexperience and her desire to find control of her own life rather than having others control it.

One of the most striking elements of The Lost Daughter is Dickon Hinchliffe’s score, which has a blues sound to it. The opening track “Leda” is a wonderfully dynamic piece that thrusts the audience into the location and escapism of the film. Leda has gone to Greece to finish her work and relax, and this track perfectly accompanies this. What Hinchliffe manages to capture is Leda’s wonderment and the freedom she has, which is then contrasted with quieter pieces that are more drawn out during the flashbacks to capture how Leda is trapped in a life that was expected of her but one that she doesn’t really want. The contrast between musical styles is a great way of portraying the many sides of Leda’s personality, and accompanies her journey perfectly.

The Lost Daughter is a masterclass in subtlety. It doesn’t need to have bells and whistles to show off the craftsmanship of the script and direction, while providing stellar performances all around, especially from Colman. It’s an intricate character study following Leda’s life and the sacrifices she has made to get where she is while also drawing parallels with Nina. The slow pace of the film works beautifully as it goes hand in hand with the vacation aspect. What is really fantastic about The Lost Daughter is that it subtly plays with the thriller tone, without actually exposing any threat, but we feel Leda’s fear. Maggie Gyllenhaal absolutely hit it out of the park with her debut, and it’s exciting to see what she does next.

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

The Lost Daughter is available to stream on Netflix now!

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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!