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Jojo Rabbit (2019)

One of the most controversial films to come out this awards season is Taika Waititi’s World War II comedy, Jojo Rabbit. Set in Germany during the last years of the War and follows 10 year-old Jojo Betzler (Roman Griffin Davis), a Nazi fanatic whose imaginary friend is Adolf Hitler (Taika Waititi). He lives with his mum Rosie (Scarlett Johansson) who is anti-Nazi and Jojo discovers that his mum has hidden a Jewish girl called Elsa (Thomasin McKenzie) in the attic. In true Waititi fashion, the film is full of dark humour and quirkiness galore and if you’re a fan of his previous films then you shouldn’t be disappointed. That being said, I understand the negative reaction this film received and wasn’t sure that I would find it funny myself but Waititi’s Hitler is portrayed as a spoilt and childish brat who is the butt of the joke throughout the film. We are laughing at Hitler rather than with him. I was surprised at how little Waititi is in the film and I think this is a smart choice. There is more focus on Jojo and his relationship with Elsa. Waititi’s direction and screenplay are as kooky as ever as he makes the best use of the film’s star power and big budget. It’s a film with numerous moving parts but a heavy focus on its two leads, Jojo and Elsa and does a brilliant job in showing their development.

Davis does a fantastic job as Jojo. Not only does he have brilliant comedic timing in his line delivery, but the confusion as Jojo questions his own extremist beliefs. When he first encounters Elsa, he is surprised at how normal she looks. Because of the lies spouted by Nazi officials, Jojo is convinced that she is a monster and is reluctant to trust her. He equally cannot let his mum or anyone else know that he is aware of her presence because he doesn’t want his mum to get in trouble. Immediately his fanatic morals are conflicted with personal interest and it is because of this that allows him to get to know Elsa as a person and begin to realise that he has been fed lies. There are many moments of true maturity in Jojo but he is 10 years old at the end of the day and the script reflects this. When repeating anti-Semitic remarks and insults that he has heard from Nazi adults, it doesn’t sound true because he doesn’t really understand what he is saying. Jojo begins to realise this himself as he develops feelings for Elsa and he finds it hard to justify his blinded hate when applying the mindset to an actual human. Jojo doesn’t understand why he feels the way he does but manages to do what he believes is right, even if it puts himself at risk. 

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Thomasin McKenzie is one of film’s highlights as Elsa, the Jewish girl hiding in Jojo’s attic. Elsa is a secretive and feisty character who lets Jojo go off on his tangents and enjoys making fun of him and his beliefs. Eventually, she is more open to Jojo when he begins writing letters pretending to be her fiancé in Paris. She realises that there is more to him than his hatred and that he can change. Her initial scene shows her in complete defensive mode both physically and mentally as she fights with Jojo and steals his knife. She drops her guard down and stays in her hiding place less and less. McKenzie portrays the loss and gain of freedom perfectly as Elsa doesn’t know how to react when she steps outside in the final scene. It seems strange watching her stand in the street as a free woman because we have become so used to seeing her hiding. Her scenes with Johansson demonstrate her range as we see her without the bravado. Her fears for the future and admiration for Rosie come across in a few short minutes which gives us a different perspective to how she acts around Jojo. McKenzie is definitely one to watch and has a promising career ahead of her.

Leading the supporting cast is Scarlett Johansson who is spectacular in what can only be described as a fantastic year for her career. Johansson caps off a phenomenal year in film with her take on Jojo’s mum, Rosie. Rosie is confident, bonkers and brilliantly outspoken. She doesn’t allow men to treat her how they want and spends her time empowering Jojo and allowing his imagination to run off with him. She disagrees with his Nazi fantasies and spends a lot of her screen time trying to capture the child in him by acting childlike herself. The character is also one of much complexity as she misses her husband as he has been missing in Italy for two years but keeps a strong front for Jojo’s sake. In one such dramatic scene, Rosie acts as both mother and father to distinguish how each one treats Jojo. With a simple smear of ash from the fireplace, Johansson becomes Jojo’s father. Her performance in Marriage Story is more defined but this shouldn’t detract from the brilliant work that she does here. Also in support is Waititi as Hitler which is the most controversial character for obvious reasons. His Hitler is clingy and desperate for attention and adoration. Seeing him in his final scenes as a pathetic man begging a child to show him some admiration is the nail in the coffin for his character and solidifies him as the punchline. Waititi is cartoonish and a complete buffoon in this role and at times is completely over the top to the point of ridicule but that’s what makes the balance work in the film. Waititi’s Hitler is created from the perspective of a child who has viewed him from the media. Because of this, Hitler’s personality is magnified to the max.

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The film was enjoyable and I liked it a lot more than I thought I would. Particularly the performances from the leads as well as the characterisation of Jojo’s best friend Yorkie (Archie Yates) who is oblivious to what is going on and isn’t at all bothered about Jojo hiding Elsa. The film doesn’t pack the same punch that Waititi’s 2016 film, Hunt for the Wilderpeople did but it’s an entertaining watch nevertheless. I’m looking forward to seeing where Waititi takes his career next and hope that Sam Rockwell is in all of his future projects.

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

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Judy (2019)

Based on the last years and concerts of Judy Garland’s life, Judy is one of the most talked about films going into this awards season thanks to the starring turn by Renée Zellweger in the titular role. Biopics have always been a popular go-to for actors who want to subvert casting types and show their range and this seems to be no exception for Zellweger who foregoes her famed reputation as the comedic gem in Bridget Jones. As an avid fan of Judy Garland, I was really interested to see whether Zellweger pulls it off and it truly is a film that revolves around the performance and acts as an Oscar lull for the actress who has mainly stayed out of the spotlight for years. Directed by Rupert Goold, a director renowned for his theatre work with a script written by Tom Edge based on the musical The End of the Rainbow by Peter Quilter, Judy is the heartbreaking reality of a faded star who longs to stay in the spotlight but is plighted by a lifetime of abuse which finally catches up with her in the form drug and alcohol abuse. Flashbacks to her youth which see Darci Shaw play a young Garland (superbly I might add) in which she is constantly berated for her appearance whilst also experiencing harassment, forced drug use and general anxieties in terms of how she must eat and act at all times.

Goold’s direction is intensely focused on its star. When we see Judy perform for the first time, the camera never leaves her, instead focusing on each movement and mannerism that Zellweger conjures up. There is a distinct use of palette used in the film as the Hollywood scenes of Judy’s youth are bright and playful whereas the London setting for her concerts in the present day is darker and drearier. The illusion of fame has long since faded which Goold brings across. The decision to bring in events that didn’t happen in real life is something that I am unsure about. A life as eventful as Judy Garland’s isn’t in need of any fictionalisation and I feel that the inclusion of these scenes detracts from the film. The main fictionalised event was the inclusion of gay couple, Dan (Andy Nyman) and Stan (Daniel Cerqueira) who wait for Judy at the stage door and have dinner with her in their flat. I understand the inclusion of these characters as it is a way to show Judy’s support for the gay community and the performances from Nyman and Cerqueira are heartfelt and sincere. My only concern is the ending scene in which they start a singalong to “Over the Rainbow” when Judy breaks down on stage. This event didn’t happen and the effect that it had as the theatre audience all joined in made it a bit cringey to watch, knowing that this didn’t happen in reality. Judy’s longing to be remembered and her final lines do pack a punch though as you feel the impending fate that awaits her as she dies 6 months after the concerts. There are plenty of moments in the film, particularly the Hollywood scenes, that are fantastically shot and Goold’s experience as a theatre director comes into play. His focus on the character’s expressions and use of light and shade is phenomenal and it’s exciting to see what he picks as his next cinematic project.

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Now onto the star of the show. Renée Zellweger is nothing less than stellar as Judy. The Judy she plays is one that looks back on past fame and fortune whilst dealing with the reality that she does not have the same financial luxury or influence she once did. The only way she is able to keep herself financially afloat is by performing in London where her fan base is loyal. Garland is a character with many layers and Zellweger manages to communicate this with a melancholy glance. The physicality of the role may not seem demanding at first but particularly when performing, you see the physical struggles Judy has. Zellweger’s Judy is one who cares about her impact and legacy, wanting to ensure that she will be remembered. Her motivation is ensuring financial security so she can spend time with her children who are living in the US with their father, Judy’s ex-husband Sidney Luft (Rufus Sewell). There are so many scenes that are captivating and it’s mainly when she is on stage. The passion that Zellweger throws into the role is spilled out heart and soul into the songs. Offstage, Judy is disabled by her mental health and increased alcohol consumption. Her anxiety overrides everything causing a huge lack of confidence and yet she longs for validation and the applause. Her refusal to allow her younger children to enter the world of showbiz only demonstrates the hatred for her own upbringing and eventual rise to stardom. She longs for the normal life but can never truly have one now.

The supporting cast is led by Michael Gambon and Jessie Buckley as theatre owner, Bernard Delfont and assistant Rosalyn Wilder, respectively. It’s always nice to see veteran actors acting alongside rising stars and both do a wonderful job. At the end of the day, their roles are to support Zellweger’s starring turn. This is a film that has an intense focus on Judy. There are very few scenes that don’t have Judy in them meaning that this makes it hard for other people to truly shine because she does grab the attention. But as I said, in a film like this, we’re not meant to focus on these supporting roles. That being said, there is a scene between Judy and Rosalyn that is particularly fiery when the latter tries to encourage the former to go onstage. Judy lashes out and claims that Rosalyn doesn’t care about her which to an extent is true. She may seem that she does care but at the end of the day, Judy’s wellbeing comes second to her concerts. Rosalyn’s job is to ensure that Judy makes the concerts on time.

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Judy is a film with its flaws but much like the film’s subject, it certainly puts on a show. Zellweger has made herself a serious contender this awards season and definitely could walk away with Oscar number two. I think it’s a film worth watching just for the performance but the direction should not be overlooked either. In a post #metoo world, it’s horrific and tragic to see how Judy was treated from a young age as she was verbally and physically abused and forced to fit an ideal that she did not naturally conform to. She clearly despised and reviled any attempts to change her and yet was forced to hate her background. Comparing the two Judys we see in the film, we see that culmination of abuse from all angles in Zellweger’s.

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

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Moonlight (2016)

One of the best Best Picture winners in Oscar history, Barry Jenkins’ coming of age tale follows Chiron, a young black man coming to terms with his homosexuality through three key stages in his life. Split into three segments: Little (Alex Hibbert), Chiron (Ashton Sanders) and Black (Trevante Rhodes), we follow Chiron’s ascendence from bullied child to a successful drug dealer. Sadly, the infamous confusion between the true winner of the Best Picture award when La La Land was wrongly announced. Moonlight’s win was monumental for being the first film to openly discuss themes of homosexuality as well as featuring a predominantly black cast. Aside from its record-breaking and importance in film history, it holds merit as a captivating piece of cinema with innovative direction, emotionally charged writing and characters that hold influence for the entirety of the film despite limited screen time. This is a film that will be remembered for the ages.

It’s incredible that this is Barry Jenkins’ debut feature. It is one of the best debuts in film history and caused a lot of hype going into awards season. Jenkins’ vision comes across fantastically by presenting Chiron as an outsider in his own community. This is important because Chiron’s story is ultimately about being in a minority within a minority (gay within the black community). Moonlight is made up of shorter scenes that give us a glimpse into Chiron’s life. Following Chiron limits our view of the world at large but we still get the struggles across as we see him attending high school and being badly bullied. Jenkins doesn’t feel the need to explain a character’s absence and allows this to come out naturally in the script. Jenkins co-wrote the play with Tarell Alvin McCraney based on the latter’s unperformed play, In Moonlight Black Boys Look Blue. Together they reflected on their upbringings in Miami and were able to apply their own experiences into the script to ensure that it was as real and human as can be. Because of the authenticity and the knowledge of the area and its people, Moonlight doesn’t fall into the trap of including stereotypes that are often seen in films.

The cast all do a superb job of telling Chiron’s story, particularly Mahershala Ali as Juan, a drug dealer who takes Chiron under his wing at a young age. Juan is living with his girlfriend Teresa (Janelle Monae) and the two act as surrogate parents as Chiron’s mother becomes more abusive and neglectful. Juan subverts the tropes that drug dealers are given in film. He is wise, thoughtful and considerate. More importantly, he is sensitive and completely understanding Chiron’s situation almost immediately. Despite only featuring in the first part of the film before his untimely death, Juan’s presence is felt through the film. Ali’s performance is one of tenderness and paternity. What also comes across is Juan’s confidence in himself and his identity. Jenkins is subverting stereotypes and showing a perspective that is needed and long overdue.

The score by Nicholas Britell is among the best of the century so far. The soundtrack is brilliant mix of rap, classical excerpts from composers such as Mozart and original music. The original music is truly stunning with beautiful use of single violin solos to exemplify Chiron’s loneliness. What Britell does is give a separate theme for the three Chirons we see in the film. The themes aren’t distinctly different but feel like an evolution through the film until we get to Black’s theme much like Chiron’s development and understanding of his own self. At times it feels as if the music reflects Chiron himself in the specific scenes as the pace quickens in moments of adrenaline and then eases off in moments of relaxation. Chiron and the music go hand in hand making the music an entire experience through Chiron’s eyes.

Moonlight is a film that stays with you and one that is difficult to forget. It doesn’t shy away from showing the brutality of modern society and the struggles that minorities face. Jenkins solidified himself as one to watch with this film and followed it up with the excellent If Beale Street Could Talk. Moonlight is truly in a league of its own and has brought a new voice to cinema that is needed and valid. Scenes in which Chiron is rejected by his own mother (Naomie Harris), an abusive drug-addict, are revealed bit by bit as they coincide with Chiron’s own understanding of the situation. As his mother uses homophobic slurs against him, Chiron too becomes accustomed to that way of thinking and distances himself from his desires as an adult. Moonlight is one of those films that you can watch time and time again and find something to admire while reaping in the rewards of this cinematic masterpiece. It’s not often when smaller films are exposed to high levels of publicity but Moonlight thoroughly deserves it and is such an important film to note in the way of diversity in its cast and crew, providing a new perspective and a new wave of films that make way for different cultures told by those from those cultures.

What do you think about Moonlight? Let me know in the comments below!

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The Shape of Water (2017)

From the incredible mind of Guillermo del Toro comes the Best Picture winning The Shape of Water, an adult fairytale following mute Eliza (Sally Hawkins) who works as a cleaner in a government lab and falls in love with a creature (Doug Jones) who is held captive for experiments. Working with various parties including her neighbour Giles (Richard Jenkins), best friend and colleague Zelda (Octavia Spencer) and scientist Robert Hoffstetler (Michael Stulbarg) Eliza seeks to break the creature out and escape with him despite the efforts from the evil Richard Strickland (Michael Shannon), the man who captured the creature in the first place. There are a lot of moving pieces in this film but that’s not to say it’s difficult to follow. It gives the film multiple layers and changing motives and sides makes it exciting to watch. The film is definitely del Toro’s best since Pan’s Labyrinth and has become an instant classic. His direction and script are beautifully sharp and consistent with the universe he wants to create. Everything has been carefully thought through from the Baltimore setting to the oceanic colour palette. It’s no coincidence that we first see Eliza in a room of deep green hues and Richard covered in bright red blood. It’s a striking visual representation of which characters are good and evil.

The characters are fantastically developed, particularly Eliza. Hawkins brings a career best as the movie loving dreamer who longs to find love. Eliza leads a simple life which we gain a glimpse of as we view her morning routine which consists of boiling eggs, running a bath and masturbating. The genius of this character is that Hawkins physicality allows Eliza to be expressive and can communicate her emotion with a simple glance. Eliza is fearless when encountering the creature. She is unfazed by the blood and threatening build of the creature and instead encourages it to get close to her so she can teach it sign language and music. One of the most intense scenes comes when she is asked where the creature is and she signs “FUCK YOU” to Strickland. The latter is naturally confused as her signing as he does not understand and it creates a truly terrifying moment as Eliza takes control of the situation. Eliza knows when to take advantage of her condition and is deeply observant of those around her. Her main development comes in the form of rejecting everyone else’s wishes and learning to do what she wants. She subverts the traditional idea of love and finds her identifying more with the creature than humans because they can communicate and understand each other in ways that Eliza can’t with other humans.

The supporting cast also perform a stellar job and there isn’t a particular highlight because everyone does a fantastic job. The support cast is male-dominated due to Eliza’s job working in a government facility in 1920s Baltimore. Working in the facility are Strickland and Hoffstetler on opposing sides of the creature’s treatment. Shannon is truly evil in his role bringing the scariest performance of his career. His presence onscreen immediately brings silence as there is an unpredictability to his character. He is strict on control and when Hoffstetler threatens the slightest bit of control, this bothers him. Stulbarg’s performance is one of tenderness and concern. He winces at the sight of violence and blood which is unusual for a man with his profession. Stulbarg’s performance is layered with multiple characters and motivations. His stance and reasoning is even more unpredictable than Strickland’s. On the other hand there are Zelda and Giles who reluctantly go with Eliza’s plans. Earning Oscar nominations for their Supporting performances, Spencer and Jenkins provide Eliza’s voice at times when she needs it. Each actor is cast perfectly as they embody their roles perfectly. Zelda and Giles are also members of minorities themselves with Zelda being black and Giles being openly homosexual. Together, the trio help to support each other in a society that is dominated by the straight white men.

Music is such a crucial part of this film as it gives Eliza a voice when she doesn’t have assistance. In scenes where she communicates with the creature, she uses a record player to convey her emotions towards him. The soundtrack is a mix of classical original score and songs from the 1920s that were used in television specials and films. Not only does it give the film it’s chronological context but it also allows del Toro to delve into his own love of Old Hollywood and push this personal perspective to the front. In terms of the score, we are treated to a fantastic selection of pieces composed by Alexandre Desplat. Just like the film, the score is a mix of genres taking mainly from fantasy by adding in the whimsy of musical and light and dark tones to reflect comedy and drama. It’s a truly captivating soundtrack and well worth the second Oscar that Desplat received.

As I have mentioned before, the cinematography is fantastic. The film is quintessentially del Toro with his distinctive use of colour and impeccable ability to build his own universes. The audience is immediately immersed from the first shot when we see Eliza’s apartment underwater as Giles narrates in a fairytale manner. What works so well is that del Toro easily merges the fantasy with the real by making his world as realistic as possible but adding whimsical qualities. There are some gory scenes in the film and as expected, del Toro doesn’t shy away from showing the audience this but it’s because of the film’s primary genre being fantasy, it doesn’t feel overwrought or overwhelming to those who don’t like horror films. The film feels suitable for any genre because the topics are so universal and the vision so distinctive.

There are few films that impact me so much immediately but after I viewed The Shape of Water, I completely fell in love with everything about it. It was wonderful seeing del Toro deliver a film that feels so personal and poignant. The film feels like del Toro’s love letter for films and the many influences such as The Creature from the Black Lagoon are really felt here.

What do you think about The Shape of Water? Let me know in the comments below!

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Beasts of the Southern Wild (2012)

Benh Zeitlin’s Deep South exploration of classism and racism within a microscopic community called The Bathtub based in the Louisiana Bayou shows the heartbreaking journey a little girl, Hushpuppy (Quvenzhané Wallis) makes to be reunited with her mum after her father falls ill who she hasn’t seen in years. The film is intricate in all of its elements and has become one of the most captivating films of the past decade for its brilliant cinematography, emotionally charged writing and a fantastic performance by Wallis. In fact, Wallis became the youngest nominee at age 9 for the Best Leading Actress Oscar at the 2013 ceremony for her performance. This may have been the big draw for the film as audiences were keen to see what the fuss was about but it is a film that has a big heart and delves into the trials and tribulations of family. It walked away empty-handed from the Oscars that year but so did other worthy films (aka. The Master) so it’s not the end of the world. I don’t think it has received the mass audience it deserves but it is a very small film and is loved by critics and film fans alike so it may grow into a modern classic soon enough.

Zeitlin’s direction is stunning and absolutely incredible for a first feature. His fixation on the community itself and reluctance to show the outside world was a great choice as the consequences and invasion of the outside world feels more impactful than if we saw The Bathtub in a larger context. We get to know similar faces and their way of life in the first half of the act and importantly, their strategies to escape from those who want to split them up. Hushpuppy isn’t raised in a conventional manner. Her education and lifestyle sees her living in her own house, cooking and raising animals at the age of 5. She is self-reliant and mature in many ways but what Zeitlin wants us to remember is that she is still a child. She sets fire to her house when angry at her father because she doesn’t think of the consequences. She screams and throws tantrums but she is also fearless and has a simplistic look on the world that makes it easy to identify the good and the bad. To Hushpuppy, there is no middle ground. Hushpuppy’s development in the script, written by Lucy Alibar and Zeitlin, is depicted beautifully as she begins to understand and comprehend the reality of the situation when she is separated from her dad and the truth about her mum.

Wallis’ performance is among the best of the decade for me. Only five years old when filming this, she truly encapsulates everything about Hushpuppy and pulls it off with ease. Unafraid to be big and proud but also willing to show vulnerability, the emotional spectrum that Hushpuppy goes through means that the role itself is deeply complex, especially for a child. This is because Hushpuppy isn’t a normal child. Wallis seems to understand this and commands attention when onscreen, which she is for the majority of the film. Thematically, Hushpuppy encounters loss, death and grief which are hugely dense topics for a child so young to even comprehend but Wallis is so engaged in her performance that she isn’t afraid of tackling this maturity head on.

The score composed by Dan Romer and director Zeitlin has become somewhat of a modern classic unbeknown to the mass audiences. The main theme has been used in various adverts and trailers alike and it feels like a piece that truly resonates the hope and adventure in the film. The soundtrack can only be described as strong and deep in heritage with Deep South banjos mixed with Cajun vibes creating a sound that feels exclusive to the community. The tracks are all fairly short as the film is made up of lots of smaller scenes rather than fewer elongated ones and this helps with the shift in tone and character. The use of brass in the score is phenomenal and makes the film feel grounded and rooted with nature. We feel Hushpuppy’s perseverance and strength.

What makes this one of my favourite films of the decade is the humility that it brings. Beasts of the Southern Wild is a film that has power in its characters and detail in writing that serves to develop characters, particularly Hushpuppy. It is such a striking film that isn’t afraid to push the realms of realism while simultaneously remaining grounded in very real topics of class and race politics. Because we view the film from Hushpuppy’s point of view predominantly, we too are seeing these issues in a very different manner. As her dad arrives home with a hospital wristband, it is only a minor detail on his outfit as Hushpuppy questions his “dress” (his hospital gown). It’s a film that discusses recurring issues but in a unique way and for that, I think it deserves to be remembered.

What do you think of Beasts of the Southern Wild? Let me know in the comments below!

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Marriage Story (2019)

Finally got around to watching this one and boy, was it worth the wait. Noah Baumbach’s tale of a couple coping with the struggles and heartbreak of divorce had received a lot attention and more than deserving of the hype. Scarlett Johansson and Adam Driver play New York based married couple Nicole and Charlie Barber who are pitted against one another by their lawyers when going through their divorce. Directed and written by Baumbach and containing many signature improvised scenes in true Baumbach fashion, he truly has outdone himself with this flick and created a film that is deeply human and resonating on many levels. He does not want the audience to pick sides as each side is justified and wrong in their own ways. Both characters lay out the others’ strengths and weaknesses in the opening monologues, setting the tone for the rest of the film. The film seems more stripped back in direction than Baumbach’s previous endeavours but then this feels like his most personal project and in many respects, the most heartfelt.

Johansson and Driver bring the best performances of their careers to date and both will receive nominations for sure and stand a very good chance at bringing home Oscars. Johansson takes a break from the Marvel franchise and it seems that she revels in being Nicole, an actress who longs to return to her native Los Angeles to make TV shows and films. Nicole is deeply passionate about being an active member of the family unit, particularly when it comes to being a mum to their son, Henry. She plays with him for hours on end and constantly rewards him for completing simple and menial tasks. Driver’s Charlie on the other hand resents rewarding his son for going to the toilet and instead wants to instill maturity and push his son to do his homework and work on his skills. What both parents share is an undying love for their child and the mutual understanding that the divorce outcome must be beneficial to Henry’s needs most of all.

As Nicole’s lawyer Nora, Laura Dern is glamorous, unstoppable and manipulative. She swoops in with compliments for Nicole on their first meeting, decked out in a beautiful outfit and sky high heels that become a signature throughout. She is a hugely intimidating character who begins to create a narrative on behalf of Nicole. In the courtroom scene, Nora refuses to back down and the articulation and intelligence that Dern brings to the role is surely going to bring that overdue Oscar. Dern has always been a reliable actress, wowing time and time again but with Marriage Story, she is able command the control of the scenes that she is in. She is truly mesmerising in her speeches and empowering in her confidence.

There are many scenes in this film that caused me to pause and take in the perfection but the big one has to be Nicole and Charlie’s huge argument as they cannot agree. It’s brutal, real and incredibly improvised. What starts as neutral smalltalk soon turns into a hurtful explosion full of abuse hurled at both sides and Nicole and Charlie both rip into each other for their weaknesses and expose the problems in the marriage that had been bubbling the surface and kept from the audience until this point. This honesty soon makes way for the ridiculous as they begin to insult each other for points and it soon ends with Charlie’s meltdown in which he curse Nicole and hopes she is smited with illness before being run over and wishing she was dead. Immediately, he falls to his knees in defeat as he instantly regrets his words and the two apologise. The exhaustion of the scene radiates off the screen. Before this scene, the tension is clearly brewing but both parties delude themselves and pretend everything is ok and can be relatively normal given the circumstance but here we are presented the reason and the breaking of the foundation.

This film subverts the usual divorce storyline in that the characters do not get back together at the end. This isn’t to say it isn’t a happy ending. In fact, both characters are much happier for it and we see the positive outcome and newfound respect that the protagonists have for each other. The end scene being a breath of fresh air in the aftermath of their court session. It’s a film that you cannot help but feel affected. The realism and authentic approach makes it seem like you are watching a real marriage fall apart. The genius of Baumbach’s writing is that he makes you sympathise with one party then the other and then you end up feeling sorry for both and wanting the best for them. Nicole and Charlie have done bad things during the course of their marriage but that does not make them bad people.

I think that Marriage Story will be a film discussed for many years and has revolutionised filmmaking for streaming culture. The film does not make any attempts to blend in nor does it want to be trendy. Baumbach is simply delivering quality cinema and making it accessible for everyone. There is an audience for it and I think a simple film like Marriage Story is a perfect way to break the ice further in the same way Roma did. I would give this film some major awards, particularly for its writing and acting. It’s a well-rounded film that is truly captivating from start to end. You feel that you truly get to know Charlie and Nicole equally throughout.

What do you think of Marriage Story? Let me know in the comments below!

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Spirited Away (2001)

One of the big ones to come out of Studio Ghibli and with good reason, Spirited Away follows protagonist Chihiro who finds herself in the spirit world where her parents have been turned into pigs. Chihiro must work under the ruthless Yubaba in a bathhouse for spirits where she is forced to take care of the visiting spirits, including the mysterious No-Face. With the help of a young boy called Haku, Chihiro navigates her way around the land of spirits and eventually learns more about herself and what she is capable of in order to return to the human world with her parents. This is commonly seen as Miyazaki’s opus as it brought international acclaim the studio hadn’t experienced before as well as a slew of awards such as the Academy Award for Best Animated Feature. The story of identity and place is one that resonated with the critical commercial audiences and has made Spirited Away an instant classic. In true Miyazaki style, the film is enjoyable for all ages and can be watched time and time again and still be just as rewarding. The film has you laughing, crying and grimacing as we encounter various characters and are thrust into the unknown. 

Ten year old Chihiro is forced to move away as her dad starts a new job. Unhappy about the move, we are first introduced to her as she sulks in the car with a bouquet gifted by her classmates. Chihiro is soon forced to think beyond her years to navigate a way out of the spirit world with her parents. She is a character who finds her own strength and relies on herself to figure this out. On entering the Bathhouse, Chihiro is overwhelmed by all of the creatures but is soon tasked with carrying out there needs. The Stink Spirit is the breakthrough moment as Chihiro passes the test and understands what the spirit needs. Anothe protagonist is dragon/river spirit Haku, who initially takes form as a boy Chihiro’s age. Haku immediately sees Chihiro and helps disguise her from other spirits before she is given permission to reside in the spirit world. At the top of the bathhouse lives Yubaba, a witch who runs the facilities. After failing Chihiro off, she strips Chihiro off her name and gives her the identity Sen. Soon enough Chihiro becomes Sen and forgets who she is as she is enveloped in the spirit world. By losing herself, she loses sight of the mission to get home. Yubaba is a character who has no motive to act for or against Chihiro and simply allows Chihiro to work in the bathhouse while she goes on her journey of self-discovery.

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The animation is spectacular is on a level that hasn’t been seen before and not really since (The Tale of the Princess Kaguya being another great example). A beautiful mix of Japanese folklore and fantasy, Spirited Away makes use of the scenery and locations. By setting the film in a fantasy universe, it gives the animation team an unlimited scope in design and allows Miyazaki to create a world from scratch. Not only is Miyazaki creating his own version of the spirit world but it also offering an entirely unique perspective on various aspects of Japanese culture. The whole film is crammed full of amazing sequences but among the most iconic in Ghibli history has to be Chihiro running through the garden paths surrounded by rose bushes is simple yet dreamy. It’s only a short moment but the angles and colours are perfect as Chihiro anticipates seeing her parents.  Other brilliantly crafted scenes include the food feast where Chihiro’s parents are turned into pigs. The satisfying layout of the food contrasts with the disgusting design for both her parents when they’re eating the food and consequently the design of the pigs themselves. The detail of the creases in the skin and the sweat is disgusting but then Ghibli isn’t a studio that glosses over the grotesque.

I can’t review a Ghibli film and not discuss the music. The score from Joe Hisaishi is instantly his most recognisable to date, spanning thousands of covers on YouTube and being a prominent inclusion in his concerts. The soundtrack is nothing less than stunning and totally deserving of its praise. The opening number and the main track associated with the film, “One Summer’s Day”, contains a mix of melancholy and hope. It’s slowness reflects the sadness that Chihiro feels about leaving her old life behind but it’s still uplifting and hopeful at the same time. The piece is soft and pretty and immediately brings you into Chihiro’s world. As soon as we enter the spirit world, the score completely shifts. The peaceful slowness is soon replaced with harsh brass and a quickened pace as Chihiro becomes an outsider in a new place and is forced to hide. Tracks such as “The Dragon Boy” are filled with the grandeur that lives up to Spirited Away’s epic feel. Hisaishi’s score helps to transport the audience into Miyazaki’s universe.

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A film like Spirited Away doesn’t come often with direction and writing that is filled with such love and passion for storytelling. Miyazaki outdid himself with this one and it’s a film that will go down in history. There are an array of supporting characters who all bring significance, even if it’s a small payoff such as Yubaba’s henchmen or her baby. You could watch this film a million times and still find something new. The film opens itself up for interpretation and analysis and has been widely discussed as such. Scenes that I find particularly striking include the attack on Haku as he thrashes into Chihiro’s dorm bloodied and weak and the scene in which Chihiro is sat on the train. The latter is so still and peaceful that it brings a sigh of relief and calm in a film that has brought so much chaos.

Do you love Spirited Away as much as I do? Let me know in the comments below!

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Hustlers (2019)

One of the most hyped films of the year comes in the form of Lorene Scafaria’s crime drama, Hustlers. Based on the New York Magazine article that follows a group of strippers who drug and con Wall Street men off their money during the 2008 recession. The film stars Constance Wu as Destiny, a former stripper who is interviewed by Elizabeth (Julia Stiles) who is conducting research for her article. Destiny reflects on her rise to the top with the help of veteran stripper, Ramona (Jennifer Lopez) and together they concoct a plan that sees them milking the Wall Street types for all they’re worth. This film could have easily slipped into a male gaze fantasy that sexualises the women and focuses on their bodies rather than their minds and motivations but luckily, with a female director and female majority clue, this film becomes a poignant reflection on the treatment of women and the recklessness of the rich who exploit the poor.

Lorene Scafaria’s direction and script is brilliant with multiple characters receiving plenty of depth and screen time all while keeping it boxed in within the interview narrative. It’s a simple technique to use to detach the audience from the dramatic events in the film. Aside from these glimpses into the future interview, the flashback follows a linear structure and shows the budding relationship between Destiny and Ramona as well as their falling out. The genius of Scafaria’s direction comes in focusing on the faces of the characters rather than their bodies. As Ramona does her opening dance, the screen flits to Destiny who looks on in awe as well as Ramona herself who clearly knows exactly what she’s doing as she writhes in a pile of money. Another brilliant scene is when Destiny grows tired of being interviewed by Elizabeth and switches off her recorder. What follows is a scene of silence to reflect that Destiny is now protected from this woman who has lived such a different life from her. Constance Wu was the perfect choice for Destiny. The difference between her as an aspiring stripper and the uncomfortable woman who has lived through the experiences at the interview is like viewing two different people. Wu doesn’t hold back in her vulnerability. Destiny is clearly a rookie at her job and to see Ramona take her under her wing rather than set her up for failure is something that a film created for the male gaze would not do. This is an authentic view of womanhood and it’s made all the more empowering knowing that it was made by a woman and features a collection of strong female characters.

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I think it’s only right to give Jennifer Lopez her own section. The triple threat truly comes into her own as Destiny’s mentor, Ramona and has subsequently earned multiple major award nominations so far including Golden Globe and SAG nominations for Best Supporting Actress. It’s pretty inevitable that she will receive an Academy Award nomination at this point also and deservedly so. Ramona is presented as ruthless but caring, mentor and mother. She sees herself in Destiny and only wants to give her the best life that she never had. Despite her many flaws, we are drawn to Ramona and we understand why she thinks the way she does despite the danger in her plans. Her experience as a woman of colour who’s livelihood is dependant on the rich white men of Wall Street is shattered as she decides to take these matters into her own hands. Ramona understands that the only way to achieve the American Dream is to rely on oneself rather than lean on an unreliable patriarchy that is all to happy to kick those less fortunate to the curb. The audience doesn’t see Jennifer Lopez. From the first moment she appears on the screen, she is Ramona.

In terms of the supporting cast, we see Keke Palmer, Lili Reinhart, Cardi B and Lizzo popping up on the screen as fellow strippers. It’s great to see a majority collection of strong women of colour in a film that builds them up rather than knocking them down. Their lifestyle isn’t glorified but it isn’t judged either. It simply is. Cardi B was cast due to her past experience as a stripper before hitting the bigtime and Lizzo is cast due to her positive body message that she likes to convey in her music. This proves how important it was to Scafaria that the female cast have confidence and aren’t ashamed of their characters. Hustlers is a brilliant example of a film by women for women. I look forward to seeing what else Scafaria has up her sleeve as well as Lopez’s next acting ventures. It’s a film that brings a spectrum of emotions while remaining true to its message and true to the characters. Hustlers presents us with the argument that not everything is black and white and although openly flawed, the motivations are not to be glorified or judged. These are events that simply happened as a consequence of context.

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The soundtrack is packed with nostalgia as we are truly thrown back to old school hits that range from Janet Jackson to Britney Spears. There’s even a cameo from Usher as the singer was reported to have visited the club. The film becomes elevated by its music. After all, it provides the literal backtrack to the women’s dance so picking the right songs is key. It is cleverly mixed with classical pieces that help to detach those scenes of adrenaline with the more hard-hitting drama. One aspect of the soundtrack that I thought was genius was not including songs by Jennifer Lopez, Cardi B or Lizzo. Despite the idea of an original collab being incredible and Oscar fodder that everyone would eat up, omitting their musical achievements outside of the film allows them to embrace the characters they are and brings the audience to a higher level of relatability and believability.

In a year that has seen many brilliant films written and directed by women, Hustlers is a great insight into the future of female cinema. If you haven’t seen this yet, I highly recommend that you do. As always, let me know what you think of Hustlers in the comments below!

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Academy Award Best Picture Ranking: List

I’ll be updating this list with each post that goes up so eventually it will have all 90 films. Working my way back has proven interesting so far and it’ll be even more so as I go further back and have to weigh up timeless classics like Casablanca and compare them with more modern classics like Birdman.

When I was working on my Disney ranking, it became apparent quickly that the list would have been better on a separate post which I did publish at the end.

Here is the ranking so far:

20) Crash (2004)

19) Green Book (2018)

18) Gladiator (2000)

17) Spotlight (2015)

16) Argo (2012)

15) Chicago (2002)

14) The King’s Speech (2010)

13) A Beautiful Mind (2001)

12) The Artist (2011)

11) Million Dollar Baby (2004)

10) Slumdog Millionaire (2008)

9) The Hurt Locker (2009)

8) The Departed (2006)

7) American Beauty (1999)

6) The Shape of Water (2017)

5) Birdman: or the Unexpected Virtue of Ignorance (2014)

4) 12 Years a Slave (2013)

3) No Country for Old Men (2007)

2) The Lord of the Rings: The Return of the King (2003)

1) Moonlight (2016)

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Top 5 Emma Stone Performances

Emma Stone is one of the most exciting young actresses working today. She worked her way up in the ranks of quirky teenage comedies proving her ability to perform in an array of roles in various genres along the way. In such a short career, we have seen her portray a young writer in a segregated community in the 1960s Deep South, the drug-addicted daughter of a washed-up actor and a conniving maid working her way up to win the favour of the Queen of England. Naturally, she has made some mishaps in her career (most notably, her controversial turn in Aloha as a quarter-Chinese, half-Hawaiian woman which she openly regrets) but for the most part, she has grown and matured as a performer. Even her turn in the darkly comedic picture, The Favourite shows a huge improvement from her turns in Superbad and Easy A.

Nominated for 3 Oscars with a win in 2016 for La La Land, Stone’s star shows no sign of dimming any time soon and with her upcoming Cruella de Vil origin story set to hit the screens in 2021, it’s exciting to see what else she will do. She is a star who doesn’t divulge hugely in the celebrity lifestyle and clearly has an ingrained passion for her craft which is refreshing to see. Easy A proved to be her breakthrough into leading roles and what she has achieved within a decade, most people would spend their whole careers dreaming of. What better way to celebrate Stone’s illustrious career than discussing the highlights.

Here are my top 5 Emma Stone performances in chronological order:

Easy A (2010)

Stone’s first leading performance just so happens to be one of the 21st century defining teen comedies. Stone plays Olive Penderghast, a bright and overlooked student who is quick with her wit and yet underwhelmed with her current social standing. During a party, she pretends to have sex with a friend to stop rumours that he is gay and word quickly spreads about “slutty” Olive as she pretends to have sex with guys in her school in exchange for gifts. We see Olive thrust into the spotlight reluctantly and judged by her peers and the teachers at her school. The script is fantastic and the scenes where Olive and hardcore Christian Marianne Bryant (Amanda Bynes) face off are incredible. Olive is a brilliant character because she is so self-aware of the mistakes that she makes and the web of lies that she is trapped within. It is the sincerity that Stone portrays Olive with that really brings that emotion to the surface as she records her side of the situation on the webcam. She doesn’t try to justify what she has done but she uses it to explain why she decided to do what she did. There is also an amazing supporting cast including Stanley Tucci and Patricia Clarkson as Olive’s parents and a welcome cameo from Malcolm McDowell as Principal Gibbons. Even though it is a film aimed for a teenage audience, there is plenty there for an adult audience to enjoy.

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The Help (2011)

This film sees Stone cast against type and venturing into more dramatic roles. The Help is a film mired in controversy due its white saviour narrative disguised in a well-meaning intentions. I do believe that director, Tate Taylor, didn’t realise this when making the film and I do think that the cast do a brilliant job with the script that they’re given. Stone portrays the lead, Eugenia “Skeeter” Phelan, an aspiring journalist who looks to chronicle the treatment of black maids in Jackson in 1960s Mississippi. Skeeter fits the typical white saviour tropes as her character has been created with hindsight. She is made to be an outsider as she doesn’t fit in with the ideals that are expected from the white community as she yearns to have a career in a “man’s world”. Because she doesn’t fit in with the white community, she finds that this is something she has in common with the black community, specifically the maids who work for her friends and Constantine (Cicely Tyson), the Phelan family’s maid from Skeeter’s childhood. These are definite flaws that are present throughout the film and have been justifiably addressed since the film’s release. I have included Stone’s performance in this list, however, because I think that this performance shows a different side and her ability to lead a large starry cast. The Help was made with a big budget and did extremely well in the box office and critically, receiving nominations in awards season and wins for Octavia Spencer who plays the brilliant Minnie. Stone plays Skeeter interestingly as she is a character who observes and listens to the stories. She steps back and watches the action unfold. A lot of her acting in this film is through expression rather than words which Stone brings in abundance and although the concept of the film is flawed, I think the sincerity that Stone brings to the character shouldn’t be entirely overlooked.

Birdman: or the Unexpected Virtue of Ignorance (2014)

Anyone who claims that Stone has just struck lucky and isn’t a good actress needs only to watch her performance in Best Picture winner Birdman. The film follows Riggan Thomson (Michael Keaton), an actor known for his previous outings as superhero Birdman and his attempt to break into serious acting by directing and starring in an adaptation of Ray Carver’s short story “What We Talk About When We Talk About Love” work on Broadway. Stone plays Sam, Riggan’s daughter who has recently come out of rehab and is learning to adjust without drugs. It’s a small role and yet Stone shines bright among the starry cast. The scene in which she has a breakdown after Riggan finds her weed is astonishing and well-deserving of the Oscar nomination that Stone received. This is a role in which see a darker side of Stone where the character of Sam is emotionally exhausted which comes across in Stone’s physicality. Her character drifts and becomes ghostlike such as the dressing room scene in which she fades into the background as Lesley (Naomi Watts) storms in and starts ranting about her to Mike (Edward Norton). In a film that relies on such quick pacing and non-stop movement by its cast and crew as the camera winds its way down the corridors of the theatre, it is Sam that brings it to a halt in her scenes. Her easiness and contemplative nature are reflected in the way the film is structured and her scenes see her fixated in one room rather than moving.

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La La Land (2015)

La La Land showed Stone’s already shining star skyrocket to a global phenomenon as she swept awards season for her role as Mia in Damien Chazelle’s homage to the classical musical. The film follows aspiring starlet Mia who works in a café at a film studio and her chance encounter with aspiring jazz musician, Sebastien (Ryan Gosling) and their subsequent romance. The film is clearly inspired by films such as Les Parapluies des Cherbourg (The Umbrellas of Cherbourg) and Casablanca which Chazelle has listed among his favourite films. It’s a beautiful film filled with nostalgia while giving it a 21st twist and innovative direction. Stone is impeccable in her role as an actress playing an actress who is yet to have a big break in Hollywood. We see her fail in auditions initially mainly due to her lack of confidence. Her passion for acting is clear when she talks but she is unable to project that passion for the casting directors. Through the film and the romance with Sebastien, she becomes unguarded and unafraid to be herself. The character is refreshing and begins to experience a new perspective on life. This results in the iconic audition scene, with the song “Audition”, in which Mia sings about an aunt whose freedom inspires her.

The Favourite (2018)

Probably my favourite Emma Stone performance, The Favourite is a brilliant insight into British history from the weird mind of Yorgos Lanthimos. Stone plays Abigail, a young maid whose father gambled her off in a whist. She arrives at Queen Anne’s (Olivia Colman) palace seeking employment and works in the kitchens as a scullery maid until the ruthless and watchful eye of her aristocratic cousin, Sarah, the Duchess of Marlborough (Rachel Weisz). It’s a fantastic love triangle as Sarah and Abigail fight for the Queen’s favour. The film undoubtedly belongs to Colman, who won an Oscar for her troubles but Stone is utterly captivating. She bounces off perfectly to both Colman and Weisz, allowing her cruel nature to bubble beneath the surface. Sarah is known for her loyalty to the crown and her firmness but Abigail keeps her motivations hidden and brings a sweet and innocent exterior. It’s extraordinary seeing Stone play such an evil character with so much charm and charisma that her award nominations were inevitable. This film was my favourite from this year’s awards season and it was such a shame seeing it not receiving the attention that it deserved. It’s so rare seeing three female characters dominating a film with fleshed out personalities that are complex and captivating and that’s exactly what Lanthimos has done. I would love to see another Lanthimos/Stone collaboration on the cards in the future.

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It’s amazing to think that these 5 performances show different sides to Stone and yet there is a 8 year difference between the first and last with three Oscar nominations, including a win in between. I don’t think that Stone is an actress who should be overlooked and I think that she is someone who has even more up her sleeve. I am very excited to see what the future brings for her.

Which Emma Stone performance is your favourite? Let me know in the comments below!