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Another Round (2020)

Another Round has steadily become the favourite to win the Best International Feature Film Award at tonight’s Oscars thanks to its brilliant mix of comedy and drama. Directed by Thomas Vinterberg, the film follows four uninspired teachers who decide to start an experiment where they retain a certain amount of alcohol in their blood throughout the day and note the effects. With a cast led by Mads Mikkelson, Another Round is bonkers and disorientating as we follow the downwards spiral of the men as their lives descend into chaos as they constantly increase the alcohol intake. The film has garnered a lot of attention thanks to the film’s originality as well as Mikkelson’s perfect leading performance as history teacher, Martin.

Based on a script written by Vinterberg and Tobias Lindholm, Another Round has the perfect balance of comedy and drama. The film is filled with physical comedy as well as an extremely sharp script that gives each of the teachers a clear story and motivations for taking part in the experiment. Combined with Vinterberg’s sharp direction, the film can be disorienting and chaotic to reflect the drunken displays occurring onscreen while at the same time portraying the happiness that the characters are feeling. The final scene in which Martin performs an incredible improvised dance that acts as a release for all of the emotions and events that have happened in the film and is perfectly choreographed and directed. Vinterberg’s inclusion on the Best Director nomination list was an incredibly welcome surprise in what has been a fantastic awards season.

Mads Mikkelson is on top form as history teacher, Martin. His life seems uneventful and unexciting as he goes to work, comes home, goes to sleep and repeats the process. He has clearly broken down as he is distant from his wife and kids and his students are dissatisfied with his teaching. When he partakes in the experiment, it is as though Martin is a completely different man and starts to come out of his shell before the drinking overtakes everything and has a gigantic fall from grace. Mikkelson is on top form from beginning to end. We feel the disorientation that goes with the loss of control as well as the highs that come with his initial success in work and family. With such a complex character in a role that is physically and mentally demanding, it was great to see Mikkelson recognised with a Best Leading Actor nomination at this year’s BAFTAs and it would have been even better to see him among the nominations at the Academy Awards as well but being able to demonstrate his ability to play any genre with ease, this film serves as another great addition to a fantastic filmography.

The supporting cast does a brilliant job of portraying the chaos that surrounds Martin with Thomas Bo Larsen bringing a performance that will have you crying by the end. Larsen plays Tommy, the PE teacher who works with the younger children in the school. When the experiment is underway, it is Tommy whose life begins to spiral out of control almost immediately and it gets to the point where he loses that control and cannot retain it. Hiding numerous bottles of alcohol in the gymnasium equipment room is only the start of the bottle. After the men agree that their alcohol consumption is getting to a point where they are concerned about alcoholism, they stop the experiment but Tommy continues to drink. The scene in which he turns up to a staff meeting inebriated beyond belief is heartbreaking as he has lost all sense of self. The final encounter we see between Tommy and Martin is upsetting and it’s thanks to Larsen’s incredible performance that we really feel the despair for the character.

Another Round is a film that is bold and daring while also remaining a celebration of life. The four men work in the same school and yet lead entirely different lives and the experiment brings forth a common denominator between them as everything is put into perspective. Vinterberg has created a film that feels revolutionary in its fearlessness and the highly charged emotional scenes juxtaposed with literal song and dance in a way that feels real and grounded. Mikkelson proves again that he is capable of performing any role in any genre as he excels and carries off what is easily a career best in a career that is filled to the brim with impeccable performances.

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

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Nomadland (2020)

Nomadland has become the ultimate frontrunner this awards season and it’s easy to see why. Writer and director Chloe Zhao’s adaptation of the 2007 nonfiction book, Nomadland: Surviving America in the Twenty-First Century by Jessica Bruder has swept all the major awards this awards season and is more than likely to repeat its success again at the Oscars this Sunday. The film follows Fern (Frances McDormand), a woman who decides to lead a nomad life following the closure of her town and the death of her husband.

Chloe Zhao’s work on this film is absolutely stunning and impeccable. Working as the film’s co-producer director, writer and editor is a clear indicator of her passion for the project and it shows. From the flawless script to the smooth editing, watching Nomadland feels like an immersive experience as though you are going on these journeys with Fern. Zhao has received nominations for Best Picture, Best Director, Best Adapted Screenplay and Best Editing with the majority of these categories locked which will make her the second female winner of the Best Director award at the Oscars.

Just when you think Frances McDormand has shown all of her range, she swoops in with another tour de force performance. Coming off the back of her Oscar winning turn in Martin McDonagh’s 2017 film Three Billboards Outside Ebbing, Missouri, McDormand shines again as Fern, a nomad who is trying to find purpose in her life following the death of her husband. Adamant that she is “houseless” rather than homeless, Fern travels the States meeting a lot of new and familiar faces along the way. What McDormand always does so well is bringing an authenticity and depth to her characters in a way where she makes it look effortless yet impactful. Whether Fern is warming herself up in her van, bidding a friend farewell or reciting a Shakespeare sonnet, McDormand takes us through a whole range of emotions whilst giving an incredibly controlled and grounded performance.

It is impossible to discuss Nomadland without talking about the incredible cinematography by Joshua James Richards. Taking advantage of the nature surrounding Fern’s journeys, Richards’ work is so emotive and strikes a chord with the simple panning of a sunset behind the mountains. It may seem simple on the surface but the way it is done and the mastery and control in how the emotions in the film are conveyed make this a beautifully impressionist piece.

Another highlight for me that hasn’t been as widely discussed is the score. Composed by Ludovico Einaudi, the score feels beautifully classical while also helping to bring forward the emotions we see onscreen. Just as the cinematography allows the landscape to become personified, so does the music. The scene in which Fern goes to a large gathering during the Spring months and meets fellow nomads there is a beautiful long shot that is lifted by a gorgeously soft piece of music that perfectly captures the wonder of the lifestyle. The music never tries to dominate the events happening onscreen but simply helps to heighten and intensify those emotions.

What makes Nomadland work so well is its simplicity. Zhao shows that you don’t have to bring in all the bells and whistles to make the best picture. Nomadland has all the makings of a great modern classic in its relevance and beauty. The film’s ability to bring up a whirlwind of emotions through scenic camerawork is a mark of Zhao’s talent as a visionary. This is very much a labour of love and one that begs for revisiting time and time again thanks to its rewarding visuals and emotive performances where the landscape plays a key part. Whether you view this film as a take on capitalism, environmentalism or a character study, there is much to be gained from the Nomadland viewing experience.

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

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Judas and the Black Messiah (2021)

Judas and the Black Messiah has proven to be a strong competitor this awards season. Following the true story about an FBI informant, William O’Neal (Lakeith Stanfield) who infiltrates the Black Panthers and gets close to Chairman Fred Hampton (Daniel Kaluuya), the film tells a point of view that is often missing from the narrative. Directed by Shaka King and based on a script written by King and Will Berson, Judas and the Black Messiah doesn’t try to spoonfeed the audience and immediately throws us into the situation. As we see William delve deeper into the Black Panthers, we begin to see the conflict in his position as a black man who is working for the predominantly white government that the Panthers are protesting against.

The directorial decisions when it comes to the structure and editing of the film has proven to be a hit or miss when it comes to the critics and audience. I appreciated King’s decision to throw us into the situation and remain neutral on William’s political stance. As reflected in the interview footage we see at the end of the film, William leaves it for the individual to decide whether he was in the right or wrong in his actions as he has been forced into his situation.

Lakeith Stanfield is perfectly cast as William O’Neal and does a great job at conveying the inner conflict that O’Neal faces as he is torn between his job as an FBI informant and as a rising presence in the Black Panthers. Stanfield excels during the scenes in which O’Neal’s life is at stake when there is violent conflict between the police and the Panthers as we see how he doesn’t know what is the right or wrong point of view. As his friendship with Fred grows, his inner conflict grows more and there is more at stake. The chemistry Stanfield has with Jesse Plemons who plays the FBI agent is fantastic and the scenes of negotiation between the two are greatly intense as O’Neal is forced to carry out his time with the Panthers whilst reiterating confidential information to the FBI. One of the biggest surprises at this year’s Oscars is Stanfield’s nomination in the Best Supporting Actor category alongside Kaluuya. It’s great to see Stanfield getting the recognition he deserves but he is definitely the film’s lead and should have been considered as such.

With most of the acting awards being up for debate this year, one consistency has been Daniel Kaluuya’s clean sweep of the Best Supporting Actor gongs from the major awarding bodies. Having received his film breakout in the excellent Get Out which saw him receive his first Academy Award nomination. His performance as Fred Hampton only shows signs of growth and is absolutely breathtaking. If it wasn’t clear before that Kaluuya is one of the best actors working today then it definitely is now. The scenes in which Fred is addressing his congregation commands the room and is so gripping to watch as we cannot predict what decision he’ll make next. There is always that looming danger around Fred as informants are compromised and police action becomes more violent. Some people have a problem with Kaluuya playing Hampton because he is British but his accent is pitch perfect and his mannerisms reflect Fred brilliantly so much so that he becomes the character.

One thing about the film that really stood out to me was the score which was composed by Mark Isham and Craig Harris. The sharp jazz tones make the film feel like a thriller in places and takes away from the reality of the situation. Heavily inspired by the upbeat music of the 1970s also, the score is captivating and helps to elevate the viewing experience.

Overall, Judas and the Black Messiah is filled with fantastic performances from all of its cast. The decision to keep O’Neal’s stance neutral throughout may not work for everyone but I appreciate King for trying something different by allowing O’Neal to act as an observer to Hampton and the FBI and seeing how the two sides make their plans. Kaluuya in particular is worth the watch alone as he does Fred Hampton justice thanks to his passionate and fearless performance.

What did you think of Judas and the Black Messiah? Let me know in the comments below!

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Eurovision Song Contest: The Story of Fire Saga (2020)

One of Netflix’s big releases last year was Eurovision Song Contest: The Story of Fire Saga. Starring Will Ferrell and Rachel McAdams as Icelandic duo, Fire Saga, this film has been a hit with audiences around the world thanks to its sweet homage to the titular event that is loved around the globe. Directed by David Dobkin from a script written by Ferrell and Andrew Steele, Eurovision Song Contest is a charming film sprinkled with lots of humour. We follow Fire Saga’s journey from local performers to the Eurovision final which is set in the UK. With the first act of the film set in the small Icelandic town of Húsavík and the latter acts set in Edinburgh.

Will Ferrell’s performance as Lars is definitely the comic relief of the film. Lars is over the top and extremely eccentric, letting nothing stop him in his quest to win Eurovision. Ferrell brings his best performance in years as he gives space for the relationship between Lars and Sigrit to take centre stage. Of course, Ferrell provides us with his signature humour full of double entendres and physicality but it seems toned down and more controlled compared to past roles. What is clear in Ferrell’s performance is that he obviously has respect for Eurovision and doesn’t want to make fun but use the film as a tribute. Extremely funny and with a hilarious script, Ferrell displays what has made him one of the best comedic actors in mainstream cinema today.

Rachel McAdams’ as Sigrit is the highlight of the film. I was a bit disappointed to learn that she didn’t do her own singing but her performance aside this is still brilliant. What makes Sigrit such a great character is her love for Iceland and its traditions. She asks elves for help, often bringing them gifts in exchange for good fortune at Eurovision. Her affection for Lars is evident and she is unafraid to follow her own path despite what her family and friends say. Where Lars is dead set in his exaggerated vision in a bid to please a larger audience, often not telling Sigrit of any changes, it is down to Sigrit to provide that sense of home to the film. Inspired by her unrequited love for Lars, she writes “Húsavík” in which she incorporates the Icelandic language whilst also showing the image of how it feels to live in such a small town. It’s nice to see McAdams in a comedic role after a slew of successful dramatic roles which includes her Oscar nominated performance in 2015’s Spotlight.

As the film is a musical it’s important to talk about the songs. Starting off with the brilliant “Volcano Man” as the band practice in Lars’ basement to the Eurovision contender “Double Trouble” and the gloriously climatic “Húsavík”, Eurovision Song Contest is full of catchy, brilliant songs. With an eclectic mix of original songs and covers, this film has a soundtrack that is entertaining and memorable. I think that the original songs in particular have a perfect blend of fun Euro pop and softer ballads while also bringing in past Eurovision winners and contestants for an iconic mashup event. Admittedly, I have been playing “Volcano Man” and “Húsavík” because I think they’re so brilliant.

Overall, Eurovision Song Contest is an entertaining thrill. The reason I didn’t watch this film on release was because I was unsure whether it was worth the watch and I didn’t think I would enjoy it, however, I regret not seeing it sooner. From the brilliant soundtrack to Rachel McAdams’ fantastic performance (even if it isn’t her singing voice), this film is deserving of the praise it has received and is a lot of fun to watch. Ferrell and McAdams make a great onscreen duo and work really well together as the chemistry between them works perfectly.

What did you think of Eurovision Song Contest? Let me know in the comments below!

Eurovision Song Contest: The Story of Fire Saga is available to stream on Netflix!

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I Care a Lot (2020)

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

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

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

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

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

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

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

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

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The United States vs. Billie Holiday (2021)

The United States vs. Billie Holiday has produced one of the biggest surprises to come out of this year’s Golden Globes. Andra Day proved victorious in the Lead Actress in a Drama category as she beat out favourites Frances McDormand and Carey Mulligan to receive the prize for her turn as legendary jazz singer, Billie Holiday. Chronicling Billie’s life leading up to, during and after her controversial prison time, The United States vs. Billie Holiday does have its flaws but it features brilliant performances from Day and the rest of the cast. Directed by Lee Daniels from a script written by Pulitzer-prize winning playwright Suzan-Lori Parks, The United States vs. Billie Holiday has found a star in Andra Day.

The film does take a while to find its natural pace but once it does, it is enjoyable to watch. The first half of the film feels rushed, flitting quickly from one event to the other unexpectedly without really letting the characters breathe. I think that because Parks has a lot more experience in writing plays, this technique would work much better on stage than on screen but the second half brings some brilliant characterisation. Daniels’ direction also shines in the second half as we see Holiday’s rebellion and unapologetic attitude take hold and her descent into drug and alcohol abuse.

It goes without saying that Andra Day is heart and soul of the film. Without her fantastic performance this film would not have the power and attention it currently does have. What makes Day’s performance so captivating is that she doesn’t try to be Holiday through mimicking but really delves deep into Holiday’s layered personality. On the surface, she is a hugely successful singer who is loved all over the country but inside she is riddled with addiction combined with bouts of domestic violence and run-ins with the law. With biopics being a mainstay on the awards circuit in recent years, it is refreshing to see a performance that isn’t just an imitation and not much more. Although the film around her has its flaws, Day elevates the whole viewing experience and makes it both rewarding and positive overall.

In support, Trevante Rhodes is great as federal agent Jimmy Fletcher. Having previously had his own breakout role in the Oscar winning masterpiece Moonlight as adult Chiron, Rhodes sees a change of pace here as a conflicted federal agent who plays a huge part in Holiday’s imprisonment. Thinking that being an agent was going to make the world better for African-Americans, he soon realises the corruption that lies in the higher ranks ran by the white elite who are against the civil rights movement. Although Rhodes isn’t in the film a lot, he gives the audience that outsider perspective as he follows Holiday and her entourage on tour.

The film really hits its stride in the second half as Holiday embarks on her tour followed by Fletcher. One scene that is a highlight in particular is when Fletcher is high on heroin and Holiday tells him about her troubled upbringing. The way it is staged as Fletcher sits and views a young Holiday being kicked out by her mother. The structure of the scene prevents the film from simply being a linear scene by scene recreation of Billie’s life. In terms of the direction, the film feels like it is split into two films with the first half being less adventurous and following a move traditional and expected structure and the second half diving into a more experimental and unpredictable approach. This could coincide with Holiday’s descent into addiction and her life spiralling out of control but I think the film as a whole would have benefitted hugely if the approach was more consistent throughout. If Daniels had directed the first half of the film like the second, the discussion around the quality of the film overall would be hugely different.

Although The United States vs. Billie Holiday may not be the strongest film in contention this awards season, it is definitely worth the watch purely for its great final act and Andra Day’s breakthrough performance. I expect to see Day recognised further with an Academy Award nomination at least and it’s exciting what the future holds for her if she decides to pursue a career in film.

What did you think of The United States vs. Billie Holiday? Let us know in the comments below!

The United States vs. Billie Holiday is available on Sky Cinema now!

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The White Tiger (2021)

Ramin Bahrani’s latest feature premiered on Netflix to international acclaim. The White Tiger tells the story of one man’s ascendancy to success from his humble beginnings. Based on Aravind Adiga’s 2008 novel of the same name with the script written by Bahrani, The White Tiger is an intricate character study that shows the contrast between two worlds and how the two collide. Set against a backdrop where those from poorer backgrounds are led to believe they can achieve greatness without actually receiving the appropriate funds to do so, Balram uses his intuition and determination to rise above his station by getting himself hired as a driver for an extremely wealthy and influential family.

Bahrani’s direction is stunning and perfectly captures the conflict between the two worlds that Balram is exposed to. As Balram becomes accustomed to the way the rich live, he begins to see the corruption that helps to keep them at the top and how this seeps into the government as well. Through his writing, Bahrani forces the audience to read between the lines and look at Balram’s experience as the experience of India on the whole. Even the enveloping narrative structure of the film where Balram recalls his life through an email to the Chinese Premier in itself is an act of the protagonist’s aim of furthering himself both financially and economically.

Adarsh Gourav’s performance as protagonist, Balram, is captivating and hugely impressive for his first leading performance. With the weight of the film resting firmly on his shoulders, Gourav brings Balram to life perfectly combining his determination and ruthlessness to deliver a performance that is truly magnetic. Acting among huge Indian stars, Gourav holds his own and establishes himself as a star in the making. As Balram delves deeper into the world of the rich, his sanity and stability start to become compromised and Gourav really excels during the second half of the film as this happens. It’ll be excited to see where Gourav’s career takes him, especially considering how well he has done in his first leading role. The White Tiger has secured his position as one to watch.

In support we have Rajkummar Rao and Priyanka Chopra Jonas as Balram’s boss, Ashok and Ashok’s wife, Pinky. Ashok is such a fascinating and layered character as he has returned from America and is more liberal and lenient in his approach towards the people who work for him and his family, quickly striking up a friendship with Balram. However, when it comes to mistreatment, he stays quiet as he is indoctrinated by the traditions set out for him. His wife Pinky, Indian born and raised in America is perplexed and disgusted by the mistreatment of Balram at the hands of Ashok’s brother and father. Unapologetically outspoken, Pinky is like Balram as she is an outcast as well and refuses to fulfil the silent, obeying wife that is expected of her. Both Rao and Chopra Jonas are perfectly cast in their roles bringing a sense of unpredictability and fun to the film, especially during middle portion as their relationship with Balram grows.

Overall, The White Tiger is a gripping film filled with unpredictability and keeps your attention thanks to its brilliant character and beautiful aesthetic. With a stellar cast and stunning direction, this is a fantastic film that should be praised for its incredible script and flawless cinematography. This drama is sure to have you gripped from the first scene as the film descends into the chaotic events without feeling clunky or out of place. It’s been left out of the Golden Globe nominations but it would be great to see this film receive Academy Award recognition for its script and cinematography which is where this film really shines.

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

The White Tiger is available to watch on Netflix now!

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Top 5 Carey Mulligan Performances

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

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

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

An Education (2009)

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

Never Let Me Go (2010)

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

Drive (2011)

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

Shame (2011)

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

Promising Young Woman (2020)

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

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

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

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One Night in Miami (2020)

One of my biggest regrets of London Film Festival was that I accidentally missed the showing of Regina King’s directorial debut, One Night in Miami. Quickly becoming one of the most exciting films tonlook out for this awards season, the film follows the integral meeting that took place between boxer Cassius Clay (Eli Goree), activist Malcolm X (Kingsley Ben-Adir), football player Jim Brown (Aldis Hodge) and musician Sam Cooke (Leslie Odom Jr.) on the night that Clay became World Champion and leads up to the announcement that he is converting to Islam. Based on the play of the same name written by Kemp Powers, who also wrote the screenplay, One Night in Miami is fully engaging and beautifully shot. In an awards season that is dominated by films directed by women, King stands out as she brings a unique perspective to a film that is heavily dominated by men.

As the film is based on a play, it could have easily slipped into the trap of coming across too “stagey” and over the top. However, Powers did a brilliant job of adapting his script in a way where the location changes and long conversations feel completely natural and brings an authentic pace to the film that doesn’t feel jarring at all. Mixed with King’s ability to weave in the different backstories flawlessly, One Night in Miami tells its story effectively without patronising or spoon feeding the audience. We soon find as the film goes on just how complex each individual’s life is and how their own struggles reflect that of other African-Americans during that time as well as their power and influence to inspire change.

In the lead as activist Malcolm X, Kingsley Ben-Adir is absolutely astonishing. By far one of the most exciting breakouts of this awards season, Ben-Adir perfectly captures Malcolm’s strength and resilience that is often associated with Malcolm whilst also adding in the fearful side as we see Malcolm as a family man who is scared for his own wellbeing and mortality as he grows more paranoid of the FBI and the Nation of Islam. Naturally, Malcolm is the instigator of many conversations and arguments that occur in the film simply because he wants his friends to use their platforms to speak up about racial equality. Of course, this isn’t the first time Malcolm X has been brought to the big screen with the most notable performance coming from Denzel Washington in Spike Lee’s 1992 film, Malcolm X but Ben-Adir holds his own and shows that he is definitely a star on the rise.

In support we have Eli Goree, Aldis Hodge and Leslie Odom Jr. as Cassius Clay, Jim Brown and Sam Cooke. Each man a pioneer in their respective field through the worlds of sport and art, Malcolm invites his friends round to discuss the opportunities they have to promote racial equality thanks to the public platform they have. Every actor in this film pulls more than their weight and deliver performances that stay with you long after the film is over but the highlight in support has to be from Leslie Odom Jr. who shines as the conflicted musician Sam Cooke. Cooke is a successful musician who makes his own money and chooses to make music that caters to both black and white people because it makes him rich and allows him to be his own boss. After hearing Bob Dylan’s “Blowin’ in the Wind”, he is inspired to write his own song about racial injustice and the result is “A Change is Gonna Come”. To say that Odom Jr. is the perfect choice for the role is an understatement. He captures Cooke’s personality brilliantly and his voice is spot on, bringing out the passion and love Cooke has for music. It should also be noted by Odom Jr’s performance of the original song “Speak Now” which plays during the ending credits is just as beautiful as the film and I hope it receives an Academy Award come Oscars Night.

Overall, One Night in Miami is a standout among othet directorial debuts by actors because of its simplicity. King has created a film that physically is fairly still but there are a lot of moving pictures as loyalty is questioned and tensions rise. It’ll be excited where her directorial career will take her to next but right now, this film is definitely an important conversation piece that easily holds its own against the heavy hitters that boast extortionate budgets. King will no doubt be amongst the Best Director nominees when it comes to the Academy Awards and deservedly so.

What did you think of One Night in Miami? Let me know in the comments below!

One Night in Miami is available to stream on Amazon Prime now!

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Malcolm and Marie (2021)

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

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

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

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

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

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

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

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

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

Malcolm and Marie is available to watch on Netflix now!