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Borat Subsequent Moviefilm (2020)

One film that’s been buzzing around the Internet over the past month is the return of Sacha Baron Cohen’s infamous character, Borat. Released 14 years after Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan, Baron Cohen has spent the last few months filming the sequel in America during the outbreak of COVID-19 and the upcoming 2020 election which has resulted in Borat Subsequent Moviefilm: Delivery of Prodigious Bribe to American Regime to Make Benefit Once Glorious Nation of Kazakhstan. Where the first film had a heavy focus on antisemitism in America, this sequel explores feminism in a way that I think the first film failed to do. Of course, as with most Baron Cohen projects, you will either love or hate this film but it you loved the first one then you shouldn’t have a problem with this one. If you’re not into shock humour or vulgarity then perhaps this isn’t the film for you but it does raise some good points on political issues which balances out the shock.

The plot for this film is simple and the title of the film changes depending on the changes in plans. After serving a life sentence breaking rocks thanks to the embarrassment his first film caused Kazakhstan, Borat is tasked with gifting Mike Pence the country’s prized monkey minister. The monkey is soon replaced by Borat’s daughter who snuck in the same cargo box as the monkey and ate it on the journey and Borat decides to give his daughter as a gift to Mike Pence and when this fails to Rudy Giuliani. In true Borat fashion, the changing titles are overly long and hilarious. The genius of this sequel comes from the fact that it is unafraid to show people who recognise Baron Cohen as Borat and utilise that to enhance the “embarrassment” that he brought to Kazakhstan.

Baron Cohen is as dedicated as ever in his performance. Apparently he stayed in character for five days straight which is a huge commitment. I was impressed with how he was able to don his disguises such as a country singer at a Republican rally but performed it as Borat doing a country singer so the accent was really jarring. There is more focus on the treatment of women in this film with the whole plot revolving around Borat getting his daughter, Tutar, prepped and prepared to gift as a bride to someone respected within Trump’s administration. As Tutar realises her worth as a woman, Borat begins to learn how women should be treated equally and this envelops slowly during the film up until the very controversial climax with Republican attorney, Rudy Giuliani.

Maria Bakalova does a brilliant job as Borat’s daughter, Tutar. Bakalova and Baron Cohen have a great rapport and even share some genuinely sweet moments together in the film. Tutar’s character arc is just as, if not more, significant than Borat’s in this film as she begins to learn and adjust to the difference in how women are treated in America than in the fictional depiction of Kazakhstan. Initially, she sleeps in a cage and watches a Disney-style animation showing how Melania and Donald met and she longs to be like the former but soon begins to realise that women are allowed to have independence, own businesses and drive cars. One such scene that is both humorous but also empowering is when she attends a Republican Women’s Club meeting and masturbates in the toilet then shares her experience with the club. Some of the women are outraged by her words, others applaud her while some tell her that it’s inappropriate to discuss such things in public.

Because everyone knows the Borat character, Baron Cohen had to don a lot of disguises so that his targets wouldn’t know that it was him. It does result in a film that is less shocking than its predecessor but one that seeks to encourage its audience to be more politically engaged by showing out the hypocrisy of society. One such scene is when a book of ridiculous traditions that fictional Kazakhstan follow shows baby sons being born as adults and molested by doctors is described as a conspiracy theory by two right wing men immediately followed by them googling Qanon so they can show Borat what the Democrats get up to in their spare time. The juxtaposing editing is hysterical because it highlights the many contradictions that have been trickled down by various politicians and the media and created a nation that is clearly fighting within itself. By highlighting this conflict and using shock as a catalyst to expose it, Borat Subsequent Moviefilm manages to feel more endearing than its predecessor.

Now I cannot stress enough that this is not a film for the easily offended. Baron Cohen has built a career on shock value and pushing boundaries and at times it can be extremely uncomfortable to watch. However, I do think that there is thought behind it in how it exposes topical issues through offensive and dark satire. It may not be the easiest film to watch but the relationship between Borat and Tutar is one of the most weirdly endearing I have seen this year. I think that in a sense, Baron Cohen as matured in his comedy and this comes through in the character.

What did you think of Borat Subsequent Moviefilm? Let me know in the comments below!

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Top 5 It’s Always Sunny in Philadelphia Episodes

There are a lot of comedy sitcoms around nowadays that serve to shock and push boundaries. One such comedy series is It’s Always Sunny in Philadelphia which has been shaking things up since 2005. Following the owners of Paddy’s Pub, the Gang consists of brother and sister Dennis and Dee Reynolds (Glenn Howerton and Kaitlin Olsen), their father Frank (Danny DeVito), “bouncer” Mac (Rob McElhenney) and cleaner, Charlie (Charlie Day). The episodes follow their day-to-day lives, showcasing their offensive and ridiculous behaviour. A simple setup but what makes this show so great and iconic is the writing which is a shared collaboration between its stars, particularly Howerton, McElhenney and Day.

Now preparing for their 15th season and showing no signs of showing down, Always Sunny has become one of the household names in American comedy for its fearlessness in tackling taboo subjects whilst managing to maintain a charm. The cast are all perfect in their roles and the strength of the show has only improved throughout the years. What is so brilliant is how terrible the characters are but you still root for them anyway. The writing is done perfectly and flawlessly, giving a variety of memorable moments that is going to make it difficult to narrow down to five episodes. In true Smaller Pictures fashion, however, I have decided to pick my top 5 episodes from the 154 episodes that have aired so far.

Here are my top 5 episodes:

5) “The Gang Desperately Tries to Win an Award”, Season 9

Kicking off my countdown is this gem from the shows 9th season. One of the things Always Sunny does best is bringing in the outside world and incorporating that into the narrative. To go even further, “The Gang Desperately Tries to Win an Award” goes meta as it reflects the fact that Always Sunny has never been nominated for an Emmy. This fact in itself is outrageous but the result of the episode gives us one of the best songs of the whole show thanks to Charlie Day’s hilarious songwriting. This episode shows the gang trying to win an award for Paddy’s Pub so they decide to host an event for local critics. Charlie had prepared a lovely song to sing on the piano but as usual, he takes some drugs and starts to sing about spiders inside his soul before bursting into a chorus telling the audience to “go fuck” themselves. It’s the perfect response to the awards bodies in reality and is done with that amazing Always Sunny creativity. What better way to address your critics than by grabbing their attention and annihilating them? Always Sunny has never been the type of show that follows the crowd anyway so this episode is the perfect response that reflects this.

4) “A Very Sunny Christmas”, Season 6

In America, this episode is released in two parts but on Netflix UK, “A Very Sunny Christmas” is released as one long episode so I will be referring to both parts. Taking on the structure of A Christmas Carol, “A Very Sunny Christmas” shows the Gang’s attempt at getting Frank to get into the Christmas spirit. When growing up, Dee and Dennis would be subject to Frank’s pranks as their father would wrap up empty boxes and pretend they have gifts in. What tips the siblings over the edge is when Frank buys himself a designer handbag and Lamborgini which is what Dee and Dennis always wanted, respectively and it drives them insane. They recruit an old friend of Frank’s, Eugene, to act as Ghost of Christmas Past in a bid to get him to change his act with hilarious consequences. What puts this episode in my top 5, however, is a musical stopmotion animation sequence that is gory, crude and absolutely hysterical. Showing Frank being tortured and mutilated by the Gang for his behaviour, it helps him come to terms with how he treats them.

3) “McPoyle vs. Ponderosa: The Trial of the Century”, Season 11

Sometimes there are episodes that only focus on one character and then there are those that bring everyone together. This episode is amongst the latter and is a hilarious conclusion to the Ponderosa-McPoyle wedding fiasco. Bill Ponderosa is being sued for spiking the punch with bath salts by Liam McPoyle who lost an eye during the wedding. Charlie’s Uncle Jack agrees to be Bill’s lawyer and it is Jack who delivers my personal favourite moment in any Always Sunny episode. Ever. Uncle Jack has an obsession with large hands and wears giant fake hands over his own so no one knows that his hands are small. When interrogating a witness, Jack dramatically points to the McPoyles and one of his hands flies off to which he shrieks “NOBODY LOOK” repeatedly and runs to collect the hand. It is truly one of the funniest moments in comedy and had me in stitches long after the episode. The episode also features the unnamed Lawyer, representing the McPoyles who is one of my favourite side characters in Always Sunny for his deadpan sarcasm.

2) “Mac Finds His Pride”, Season 13

One thing about Always Sunny is that it is able to balance its comedy and seriousness well. This episode is a prime example of that. In “Mac Finds His Pride”, we see Mac trying to find comfort in coming out publicly with the help of Frank. Throughout the episode, Frank states that he doesn’t understand it but he accepts Mac but Mac struggles with how to come out to his dad, Luther, who is in prison. The result is a dance sequence where Mac performs with a professional dancer in a piece that explores his journey to acceptance. It’s a beautiful routine that would have taken a lot of practice to perfect and it also shows Rob McElhenney’s dedication to the character. Doing this dance would have seemed so out of character for Mac a few seasons before but the way McElhenney has developed Mac’s character through the years, it is the perfect way to let him come out. It’s a bittersweet ending to a season that has seen Mac really come to accept himself for who he is.

1) “The Nightman Cometh”, Season 4

Probably the most iconic episode to date, “The Nightman Cometh” accumulates everything we love about Always Sunny and puts it into a 20 minute masterpiece. Charlie enters the bar and announces that he has written a musical which he and the gang will be performing. Incorporating characters created in the previous season, the musical tells the story of a boy’s journey to manhood by defeating a troll and the evil Nightman thus becoming Dayman. It’s bizarre and is full of dark undercurrents but the songs are catchy and hilarious. It shouldn’t work but it absolutely does and will have you falling on the floor with laughter. From songs such as “Tiny Boy, Little Boy, Baby Boy” to “Troll Toll” to the iconic “Dayman”, the musical is filled to the brim with innuendo but what makes it funny is that Charlie doesn’t intend for it to be rude at all. He is confused by the Gang’s concern over the lyrics and becomes irritated when they decide to take creative control over their characters. Even if you haven’t watched Always Sunny, I would definitely recommend giving this episode a watch. It’s hilarious, bonkers and shows what the Gang does best which is ruin everything.

So there you have it! My top five Always Sunny episodes. I think each choice perfectly shows a different reason as to why I love this show and there were so many that didn’t make the list that would be just as deserving. With the 15th season due to arrive in 2021, now is a perfect time to rewatch all of the seasons on Netflix in time.

What do you think of my list? Which Always Sunny episodes are your favourite? Let me know in the comments below!

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The Farewell (2019)

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

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

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

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

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

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

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Top 5 Jim Carrey Performances

Jim Carrey is an actor who time and time again demonstrates the range that he has, despite his solidified reputation as a brilliant comedian. He has been playing leading roles since his meteoric rise to fame in the 90s that have become classics such as Ace Ventura and The Mask. There is a reason why he was Hollywood’s highest paid actor at one point, he has such charisma that his films are incredibly fun to watch. It is unbelievable to think that he has never been nominated for an Academy Award despite winning two Golden Globes and showing that he is capable of pulling off performances that are memorable and impactful.

Carrey was one of my favourite actors growing up. I loved watching his films thanks to his larger than life characters and his hilarious physical comedy, particularly his dramatic expressions. What has been wonderful about Carrey’s career is seeing him evolve and taking part in a variety of differing roles from his mid-90s expressive comedy to his more serious roles in the late 90s and early 2000s. Like marmite, people tend to either love or hate Carrey’s work and I am definitely in the former.

Here are my top 5 Jim Carrey performances in chronological order:

Ace Ventura: When Nature Calls (1995)

One of those rare instances where I enjoy the sequel much more than the original, Carrey reprises his role as the titular pet detective which sees Ventura recruited for a mission to retrieve a rare white bat that belongs to the native Wachati tribe. The film is an explosion of signature Carrey jokes and the film is my personal highlight of the mid-90s period where Carrey was all the rage. His unpredictability still remains the main point of attention for audiences as we watch him knock out a man and wear him on his shoulders to make a point on the fur trade as well as numerous musical moments including a hilarious rendition of “Chitty Chitty Bang Bang”. My personal highlight, however, is the seen in which he encounters the bats for the first time bringing us great lines such as “take that, you winged spawn of Satan” and “die, devil bird”. His filmography at thie point in his career wasn’t for everyone as it is so over the top but personally, I love it and it’s interesting watching this film back and watching it from an animal rights point of view.

The Truman Show (1998)

The film that showed an entirely different side to Carrey’s range, The Truman Show sees Carrey play Truman, a man who believes he is living a regular suburban life when in fact it is a reality show filled with actors that is broadcast to the world. Truman begins to suspect that something isn’t quite right and tries to escape the edge of his town where he hasn’t been before. It’s a poignant film about identity and finding that sense of belonging. Truman’s life has always unknowingly been synonomous with a global audience who share his journey. Truman has always been controlled by the show’s creator, Christoph (Ed Harris) who acts like the puppet master. He adds in drama and conflict if Truman’s life is going swimmingly. Carrey’s performance is a true tour de force thanks to his naive and subtle approach to the role. He is able to detract from the typecast view that he has created in his filmography thus far. It is because of his ability to switch between ranges so well that won him a Golden Globe for his troubles.

Man on the Moon (1999)

Following on from his critical and commercial success as Truman in The Truman Show, Carrey knocks it out of the park again in this biopic that seems him play Andy Kaufman, a man who redefined comedy in the 1970s. This film sees Carrey join forces with the brillint director Milos Forman and gives him the chance to show that The Truman Show performance wasn’t a stroke of luck. His portrayal of Kaufman is fantastic as we follow his rise in comedy and his stints on Saturday Night Live as well as the TV show Taxi which he starred in. The film overall isn’t the best but usually biopics allow for the actor portraying the subject to really standout as Carrey does here. He is the major draw and highlight but this isn’t a bad thing because he has such command on the role. Also hearing how he stayed in character offset shows his commitment and dedication to getting his performance right shows that he does take his roles seriously. His impersonation strikes the right tone, it is never over the top in classic Jim Carrey style and eventually the audience forgets that we are watching an actor rather than Kaufman himself.

Eternal Sunshine of the Spotless Mind (2004)

My favourite Jim Carrey performance comes in the form of this career-defining film following Joel (Carrey), a man unhappy with his life who finds out that his ex-girlfriend Clementine (Kate Winslet) has had her memory wiped off him by the mysterious Lacuna Incorporated and shows him undergoing the same treatment to get rid of his memories of Clementine. Charlie Kaufman’s script is fantastic and won him a well-deserved Oscar that has redefined original screenplay writing in the 21st century. The concept is so bizarre and yet the humour is subdued within a darker context making way for the film to focus on the drama within Joel and Clementine’s relationship. Carrey’s performance should have garnered him an Academy Award nomination but sadly it wasn’t to be. His portrayal of Joel is tinged with sadness throughout. The idea of not being with Clementine initially to the realisation that he will lose all memories of her while he is being forced to relive the memories during his procedure. It’s a heartbreaking film about the breakdown of a relationship and is made real by the strength of Carrey and WInslet’s performance.

Lemony Snicket’s A Series of Unfortunate Events (2004)

2004 was a resounding success for Carrey who made an unforgettable appearance in this popular adaptation of the best-selling series of the same name. Playing the villainous Count Olaf, Carrey channels his signature overtly expressive humour as his figuratively and literally towers over the three bauldelaire orphans who are subject to his care after the tragic death of their parents. The film is littered with stars including Joan Cusack, Timothy Spall and Meryl Streep but it is Carrey who shines the most. His performance was exactly how I envisioned Count Olaf would be when reading the books. The film overall strikes a completely different tone but Carrey’s performance is overly dramatic, unapologetically obnoxious and loud but most importantly, he has charisma which is crucial for the role. The film does have its flaws but Carrey’s performance is definitely not one. He is clearly having fun being in such a menacing role and it makes the film enjoyable to watch.

There are so many performances that could have been included in this list such as How the Grinch Stole Christmas (2000) and Bruce Almighty (2003) but I think that the films I have listed above really demonstrate Carrey at his best. Although he hasn’t done many major roles in recent years, i hope he does make a comeback because it’ll be interesting to see what kinds of roles he would take on.

Do you agree with the films I have picked? Which Jim Carrey performance and/or film is your favourite? Let me know in the comments below!

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Parasite (2019)

The most original film to come out of this year’s award season, Bong Joon-ho’s Korean masterpiece Parasite which can only be described as brilliantly bizarre. Since its premiere at Cannes Film Festival, the film world has been abuzz for this film. It subsequently took home the prestigious Palme d’Or beating out Quentin Tarantino’s mainstream favourite Once Upon a Time in Hollywood (you can read my review here) and has become a huge favourite this awards season, breaking the mold by being the first Korean film nominated for major awards. Particularly for non-English language films, Parasite has managed to achieve the impossible but it has done so for a reason. Joon-ho’s flawless mix of genres means that you cannot really place Parasite within a particular set. It is a perfect mix of drama, comedy, horror and thriller while also discussing a variety of topics including classism and gender. Parasite refuses to conform and because of this, it stands out as one of the most original pieces of the 21st century.

The film follows the Kim family made up of father Kim Ki-taek (Song Kang-ho), mother Chung-sook (Chang Hyae-jin), son Kim Ki-woo (Choi Woo-shik) and daughter Kim Ki-jeong (Park So-dam) as they struggle to make ends meet by working temporary jobs that pay little and are living in a semi-basement that is constantly subject to flooding, public urination and fumigation. When Ki-woo is given the opportunity to work as an English tutor to a daughter of the affluent Park family, the Kim family concoct a plan to create jobs for themselves in the stylish household thus earning a decent wage and living the high life themselves as the Park family’s household grows evermore unstable. On the other side, there is the Park family consisting of father Park Dong-ik (Lee Sun-kyun), mother Yeon-gyo (Cho Yeo-jeong), daughter Park Da-hye (Jeong Ji-so) and son Park Da-song (Jung Hyeon-jun) and their housekeeper Gook Moon-gwang (Lee Jung-eun). It is a film that presents the extreme balance of classism from either side with the housekeeper acting as the literal and figurative gatekeeper in the middle.

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Joon-ho’s direction feels unique and innovative as he manipulates setting and space to create an alternative universe within a very grounded and real place. The physical placement of the Kim family’s house being below the ground and the Park’s mansion placed high up on a hill creates a physical hierarchy. The airy, spacious setting and architectural minimalism of the Park home screams luxury and relaxation which is a stark contrast to the crammed and narrow corridors of the Kim basement where the toilet sits on a higher level to the rest of the bathroom. Joon-ho’s decision to only show the two homes as primary location only exemplifies the issues of class and belonging even more. It is no surprise that it is the smell of the basement that lingers with the Kim family and creates a separation between the two families. Despite being treated as such, they can never truly be equals. Joon-ho’s script, co-written with Han Jin-won is sharp and natural. They know when the film benefits from minimal dialogue and when to create chaos as the two families clash. As mentioned before, the film is a mix of many genres and doesn’t really have a place within one category. This isn’t a bad thing at all because in a way, it has shown Joon-ho’s skill as a filmmaker.

The main cast capture the film perfectly. One particular highlight is Song Kang-ho who brings a phenomenal performance as the Kim patriarch Kim Ki-taek who finds work as the Park family driver, mainly working for the family patriarch Park Dong-ik. He doesn’t hesitate to manipulate the Park family and take advantage of the luxury lifestyle but becomes deeply affected and paranoid when the comments of the Kim family smell arise. It is these moments that ground Ki-taek and make him realise that the lifestyle they think they are living is only an illusion. Despite their hardest efforts, they cannot rid the stench of the basement. Aside from being a film that explores the differences in class, it also does a great job at showing acceptance and place of belonging. Ki-taek doesn’t wish to change anything really and eventually begins to despise Dong-ik. Choi Woo-shik also brings his A game as Ki-woo, a young man who aspires to get out of his current situation. Working as Da-Hye’s English tutor gives him an insight into the life that he wants but not all is as it seems. Ki-woo starts a web of lies as he manages to coerce his employers to hire members of his family without them realising.

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Parasite is a fantastically bonkers film bursting to the seams with originality and I hope it triumphs at the Oscars and wins the major awards. As much as I did enjoy Sam Mendes’ frontrunner 1917 (you can read my review here), Parasite is a film that brought more to the table and something different. Not only would it be an incredible moment for film history to see a Korean film sweep some major awards that are often excluded to English-language films only (insert Roma snub here). The hype that Parasite has generated is truly deserving and it’s great to see that it is connecting with a global audience.

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

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Yentl (1983)

Barbra Streisand’s directorial debut follows the titular character (Streisand), a young woman living in an Ashkenazi Jewish community in the early 20th century who disguises as a man to study in a Yeshiva after her father passes away. Based on the short story by Isaac Bashevis Singer and cowritten by Streisand and Jack Rosenthal, Yentl is a film about subverting the cultural and societal norm as well as conflicts between religion and morality. Yentl Mendel is constantly questioning the way of life in her village and is looked down upon by the townspeople for being unmarried with no prospect of settling down. It is only when she disguises as a man called Anshel that she finds a place of belonging and her views are accepted and even celebrated. Problems occur when Yentl begins to fall in love with her mentor, Avigdor (Mandy Patinkin) who is in love with his ex-fiancée Hadass (Amy Irving) who then in turn falls in love with Anshel. It is the very definition of a love triangle and allows the film to have some lighter moments such as Anshel and Hadass’ wedding night. Winning Streisand a Best Director award at the Golden Globes making her the first and to date only woman to win the accolade, Yentl marks a huge step for female filmmakers in the mainstream thanks to its star appeal and critical and commercial success.

Streisand as director is really remarkable. You can sense the passion that she has for this film. Although there are trademark comedic moments and musical numbers that are identifiable with a Streisand picture, there is no doubt that the dramatic elements and aesthetic allow Streisand to explore a darker approach that we hadn’t really seen from her on film previously. Streisand’s female gaze gives this film a new perspective that we haven’t seen before in film. Instead of condemning Yentl’s choices, we view Anshel as a sensitive man who isn’t afraid of his vulnerability despite living in a male dominated environment. Where it not for Streisand’s feminine interpretation, the performance of Anshel could have slipped into caricature and taken away from the mature themes that the film discusses. Streisand lends a heavy feminist focus as she disputes why a woman cannot have the same outlook and expectation of a man while still appreciating the jobs that the women do. Yentl can be viewed as a crossover between genders and she doesn’t really fit in and altering her gender isn’t an issue. The pursuit of knowledge and equality overtakes the ideals expected of her. There are so many different readings that could be made when watching this film. It has been argued that Yentl could be considered as a queer film thanks to its discussions on gender and sexuality which adds a more progressive meaning to the story.

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In terms of her performance, it’s best to view Streisand as playing two roles rather than one such is her success in distinctly differentiating the two. Her Yentl is typical Streisand: sassy, witty and strong with an ambition to subvert the norm. This is the Streisand that we have grown to love in her previous cinematic outings. What is different about Yentl is that she is aware that she is trapped within her local community. When reciting the Talmud at her father’s funeral, it becomes such a scandal and causes widespread gossip. The transition period between Yentl and Anshel comes from her journey to the Yeshiva which includes her heartbreaking rendition of “Papa, Can You Hear Me?” where Yentl begs her father for forgiveness for her decision to disguise as a man in pursuit of an education. She sits alone in the forest at nighttime with nothing but a candle for light and it is then when the realisation of what she has done comes to fruition. It is also the point where she knows that there is no turning back and thus has to embody the identity of Anshel. Streisand’s Anshel takes a bit of getting used to in the same way as Yentl getting used to her new identity. We witness Anshel practicing his tone of voice and mannerisms, making sure not to appear too feminine without risking his integrity.

Mandy Patinkin does a wonderful job as Avigdor, Anshel’s friend and mentor at the Yeshiva who is initially engaged to Hadass. Avigdor isn’t afraid to be vulnerable to Anshel and his other male friends but the idea of being vulnerable to Hadass or her mother disgusts him. He doesn’t allow himself to get involved in any confrontation and is always calm when in her company. Avigdor seems so progressive when we are first introduced because he is so accepting of Anshel but it is easy to forget that Anshel is Yentl and he has no idea. When he spouts ideas about a woman’s true place in the home and that Hadass cannot think for herself, it comes across as a shock and ignorant but despite his intelligence, Avigdor is still a product of an environment that looks down on women. In another brilliant supporting turn, Amy Irving was deservedly nominated for an Oscar for Best Supporting Actress in her role as Hadass. When we first meet Hadass, she appears to fulfill all the criteria of the perfect woman and seems to do everything at the men’s commands. What we don’t realise is that she has successfully supressed any feeling of rebellion and it is when she is married to Anshel that she shares her aspirations to learn more. Yentl is in the middle of these two characters and yet it is because of Yentl that they are drawn closer together and allow themselves a more progressive and happier life.

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The amazing music is composed by Michel Legrand, one of the best composers that the film industry had to offer. From his imagination we were given the incredible song “Papa, Can You Hear Me?” composed by Legrand with lyrics written by Alan and Marilyn Bergman. The trio won an Oscar for Best Original Song Score and Its Adaptation or Adaptation Score. In true Legrand fashion, the music is whimsical and brings an essence of fairytale to the story. The musical numbers are far and few between but the score itself is wonderfully subtle when you compare to Legrand’s catalogue such as the music for Les Parapluies De Cherbourg (The Umbrellas of Cherbourg). The songs are suited to Streisand’s amazing vocal range, especially the aforementioned song but rather than being full of show-stopping numbers like the ones in Funny Girl, Legrand makes use of Yentl’s male identity and gives the songs a lower key register so Yentl is singing as if she were a man herself.

Overall, Yentl is a film that has helped pave the way for female filmmakers in mainstream cinema. It is a film not without flaws but it has beauty in its ability to discuss ideas that are considered taboo. Even within the Orthodox setting in the early 20th century, there are still similarities that Streisand is able to get across to link with the modern day. Yentl is not a film that Streisand wishes to make all about herself despite directing and starring in it but the story of how women are often subjected to misogyny and not afforded the chances of their male counterparts. It is equal parts drama and musical and a smaller part comedy which encapsulates Yentl’s character.

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

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Dolemite Is My Name (2019)

Dolemite Is My Name is a brilliant look into the life of African-American icon Rudy Ray Moore played by Eddie Murphy in a career best performance. Moore is a man of many talents: acting, singing and stand-up. His comedy routines are his way into fame as he channels an alter ego Dolemite, a pimp style man of the 70s who speaks in rhyme and quickly builds up a fan base within the African-American community across the US. The film specifically follows his rise to stardom and the production of his first film Dolemite, a blaxploitation feature in which he plays his comedic alter ego. Directed by Craig Brewer and written by Scott Alexander and Larry Karaszewski, Dolemite is my Name marks a welcome return to Eddie Murphy as a leading man on the big screen and also boasts a brilliant supporting cast with Craig Robinson, Tituss Burgess, Keegan-Michael Key and Snoop Dogg. It’s brash and upfront, unafraid of its subject and showing just how far one will go for their time in the spotlight. The writing is spectacular and even the scenes where Moore isn’t speaking in rhyme almost have a poetic quality to them. Every pause and interaction has a flow that works brilliantly in the film and the characters interact naturally. You completely believe and engage with the characters and at no point are drawn away from the film. The direction is quick and sharp with eye-catching colour palettes that exemplify Moore’s even more colourful personality. Everything about this film was completely wonderful to watch.

In a sea of biopics, it would be easy to miss this one which seemed to sneak onto Netflix without fanfare but that would be your loss. Moore is a man who loves the limelight and will do anything to get it. He will do whatever it takes to become famous even if it means nudity, violence or strong language. He isn’t afraid of vulgarity and thrives on the offensive nature of his content. Who better to play such a controversial figure than Eddie Murphy? Murphy allows himself to embrace all aspects of Moore’s personality from his strong bravado to his insecurities and flaws. He has left no stone unturned in his preparation and the result is a captivating and stunning performance that does the Moore legacy proud. I hope Murphy continues releasing films like this that show his talent and range as an actor. In this film alone, he has to sing, act and perform stand-up as a man who is himself portraying a character. That is tricky to pull off and yet Murphy seems to do this effortlessly. This is a film that has a big cast list and yet Murphy is the draw and the centre of attention at all times. There aren’t many moments when he isn’t onscreen and yet his presence is anticipated and felt. Of course, this is only natural since it is a biopic on his character but it really is a magnetic performance.

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As mentioned before, the supporting cast is crammed full of amazing talent. If I had to choose one that stands out from the rest, it is probably Keegan-Michael Key as screenwriter and actor Jerry Jones. Jones is an earnest playwright who makes films that explore racism in modern society. When initially approached by Moore to write the screenplay for the Dolemite movie, he is reluctant to jump onboard but is eventually taken in by the scope of Moore’s fanbase. His reactions during and after filming the sex scene for the movie is priceless. Jones is a character who is taken way out of his comfort and it initially makes him seem like the only sane person in a crazy bunch but eventually he allows himself to have fun with it. I also really enjoyed Craig Robinson’s appearance as Moore’s friend, Ben Taylor, who provides the theme song for the Dolemite movie. His role is only small but when he is onscreen, it’s wonderful to watch. The character of Taylor is great to watch as it shows his support from before Moore’s fame and ascension. The supporting characters really do support one another. It is a film that, although centred around one individual, tells the stories of multiple people. One touching story is Lady Reed (Da’Vine Joy Randolph) who is cheated on by her husband and doesn’t know what to do with her life. Alongside Moore, she stars in the film and joins him on the stage for stand-up. Although she is assisted by Moore, Lady Reed is strongly independent and isn’t afraid of sticking up for herself and her beliefs. The scene in which she thanks Moore for putting a plus size woman of colour onscreen allows Moore to realise that his project goes beyond entertaining people.

Although it has grabbed the attention of awards panels, particularly Eddie Murphy’s performance, it feels as though Dolemite Is My Name has been swept under the carpet. This could be due to Netflix’s loyalty to its other release, The Irishman, and so they have pushed that far more. In truth, I prefer Dolmite Is My Name as a film because it feels like something new and unique whereas The Irishman brings out what Scorsese does best but nothing that we haven’t seen before. I hope that if anything Murphy gets an Oscar nomination because it would be a real shame not to acknowledge the brilliant work he does on this film.

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In a climate that has seen a rise in racism and extremist politics taking hold, Dolemite Is My Name is a film that is desperately needed. It is thoroughly entertaining and provides plenty of laughs but it equally holds no punches in its subject matter and isn’t afraid to explore the darker truths of society. It’s interesting to think that such a diverse figure such as Moore was renowned and accepted in the 70s but the struggle and work he had to put in to get there is testament to the struggles that African-Americans face on a regular basis. I hope that there are more films like this released in coming years as it is so important to present stories from all walks of life.

What did you think of Dolemite Is My Name? Let me know in the comments below!

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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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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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Sorry to Bother You (2018)

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

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

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

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

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

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