Tag: composer

Categories
Uncategorised

I Care a Lot (2020)

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

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

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

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

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

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

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

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

Categories
Uncategorised

Saint Maud (2020)

If there was one film I was looking forward to seeing in 2020, it was Saint Maud. Thanks to the global pandemic, it was one of the many films that was delayed and just under a year later, I finally have been able to see it. Directed and written by Rose Glass in her feature debut, Saint Maud follows palliative care nurse, Maud (Morfydd Clark) who is sent to care for former dancer, Amanda (Jennifer Ehle). Maud is a recent Christian convert and is very influenced by God and will do anything to carry out his will, even if it comes at the cost of her sanity and the lives of those around her. It falls into the psychological horror category and a lot of the tension in the film is carried by the strong direction and Clark’s incredible leading performance.

Rose Glass has entered the film industry with a massive splash. Saint Maud marks her feature debut and she delivers in spades. Her directorial vision is so distinct as it mixes traditional shots of suspense with some tributes to classic religion horrors such as The Exorcist while also bringing in a freshness that feels like a breath of fresh air. Bringing an intense horror to a quiet English coastal town, this film feels ground in a real working class reality in the world around Maud whereas Maud clearly doesn’t fit in. Seen entirely through Maud’s perspective as she is in every scene, it’s clear that Maud doesn’t belong but the reason why is unclear. The script is a beautiful slow burner that is paced fantastically whilst still containing a lot for an 84 minute film. Glass makes the most of every second and it is definitely one of the best horrors I have seen in a whole. It’s fantastic to see how women are regaining control of the horror genre and the pay off is brilliant.

Welsh actress, Morfydd Clark is an absolute revelation as palliative care nurse, Maud. Maud is clearly an extremely tense and troubled individual who is trying to make sense of her purpose in the world. A recent convert to Christianity, she looks to God at every point in her life and rather than just verbal words, she feels God’s presence physical. As expected of “body horror” films like The Exorcist, Clark gives her all physically and emotionally without allowing the energy to die down. We feel the tension rising and rising as Maud has pain inflicted on her as well as bodily harm as she believes she must suffer to be with God. Maud is so invested in her religion that she is not even living her own life anymore. From the first moment she is on the screen, we feel that tension and intensity from her. Clark perfectly embodies Maud and shows her struggles perfectly, holding the film on her shoulders in a superb breakout performance. Rather than play the role as a horror lead, she performs as a dramatic lead instead which works perfectly to build up the conflict and horror that is brewing through the film.

In support, Jennifer Ehle is incredible as dying creative Amanda. A former dancer who has fallen ill to stage four lymphoma, Amanda is the polar opposite to uptight Maud. Arguably and ironically full of more life than Maud, Amanda aims to live her last days to the fullest, indulging in alcohol, parties and lots of sex. Maud is both intrigued and appalled by Amanda’s actions and strives to save her soul in time before she dies. Ehle is a fantastic who is often wasted or not given enough screentime in most films she stars in but Saint Maud elevates her to a hugely significant supporting character. Amanda’s free nature is unsettling as we struggle to know what she really thinks. Even as Amanda’s health decays, Ehle gives the character that depth and life as Amanda fights her illness. Even as she succumbs to the end, she has that freedom that Maud simply cannot restrain.

The score is phenomenal and immediately brings in the horror aspects of the film. Whereas the performances feel more dramatic, the music dictates the tone and elevates the tension in the film. Composed by Adam Janota Bzowski, the score is atmospheric, beautiful and hugely impactful. The film overall doesn’t have a lot of bells and whistles that many other psychological horrors have but Bzowski’s score is almost an effect in itself. The heavy electronic sounds filled with bass add to the film’s unsettling nature. Even in moments that seem more relaxed, the score refuses to rest and its relentlessness adds so much to the film as a whole. I am extremely excited to see what Bzowski has in store for the future and hope he continues to score films.

Saint Maud is a film that was definitely worth the wait. From the first shot, it is captivating and you can’t draw your attention away. The intricate amount of detail in every movement and props shows the amount of care that has been made in the writing. This marks the fantastic start for Rose Glass and Morfydd Clark as well as providing Jennifer Ehle a chance to really show off her range. For those who claim that horror is a man’s genre, I implore you to check Saint Maud out and guarantee that you will be pleasantly surprised. A film that I already want to watch again and again and again.

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

Saint Maud is released in the UK on Monday 1st February.

Categories
Uncategorised

The Midnight Sky (2020)

Happy new year, my fellow filmies! Now that we have left a year that has shaken the whole world up, we can now look forward to a new start where things can start to look more positive. As any film fan will know, we’ve now entered the period of awards season which means plenty of screeners, numerous streaming site subscriptions and hopefully plenty of cinema trips if and when they reopen. Embarking on the quest to watch as many films up for contention has gone off to a great start and the latest on my watch list is Netflix’s The Midnight Sky directed by and starring George Clooney. The film takes place in a dystopian future where Earth is becoming more inhabitable. Humans have been evacuated onto spaceships in order to find a new planet to settle down on. Clooney plays research scientist, Augustine, the only survivor left on Earth as he is terminally ill and needs dialysis to survive. He keeps in contact with a ship called Æther whose team has discovered a habitable moon called K-23 that orbits Jupiter.

George Clooney’s direction is hugely ambitious as this marks his biggest directorial project yet. With a huge handful of successful adaptations under his belt, The Midnight Sky is an adaptation of the 2016 novel, Good Morning, Midnight by Lily Brooks-Dalton. With a screenplay written by Mark D. Smith and a massive budget of $100 million, Clooney brings together a renowned cast and crew for the film and the result is a huge spectacle that feels like an event in the same vein of other 21st century space sagas like Gravity (which also stars Clooney) and Interstellar. However, where the film excels in its special effects and grandeur, it seems to lack a little in the characterisation and we don’t quite get to know the main characters as well as I would like, especially the leads Augustine and Sully (Felicity Jones).

As mentioned previously, we have George Clooney and Felicity Jones as the film’s leads. Both play scientists in different setting and never share a scene together and yet they have a touching friendship as they compare notes. With Augustine having theorised that K-23 was habitable 30 years prior as shown through flashbacks, Sully and her team aboard the ship have actually proven his research to be correct. Clooney sets himself a huge challenge as his scenes only consist of him and a young girl called Iris (Caoilinn Springall) who can’t speak. Having to drive the scenes largely himself, it’s a huge undertaking and at times the action happening can overwhelm the emotion and make the film inaudible at times. On the other hand, Jones spends her scenes aboard the Æther which is heading to Earth to share their discovery of K-23. Working as an astronaut whilst pregnant, Sully is a resilient character. Despite being in her condition, she still puts in her fair share of hardwork like the others in the crew. Jones has shown time and time again that she is a strong leading lady, which is clearly demonstrated in The Theory of Everything and Rogue One. I think that Jones isn’t quite given the screentime and characterisation that she needs to really standout but she does a solid job with what she has.

For the supporting cast, Clooney fills the casting list with more familiar faces. My personal favourites in support were Kyle Chandler and Demián Bichir as astronauts Mitchell and Sanchez. Not only are Chandler and Birchir hugely likeable presences in any films, but it’s nice to see them in roles where they are able to provide a lot of subtle comic relief. Leading a team recital of “Sweet Caroline” from the control panel as everyone else is repairing the outside of the ship, it’s clear that Chandler and Birchir are having a blast in their roles. As they are only in support, they aren’t in the film that long and honestly, I think the film would have benefitted from incorporating them more into Sully’s storyline and showing their friendship to establish the family vibe that Clooney was aiming for. This would give the events that unfold a lot more impact.

The strongest aspect in this film for me is the beautiful score composed by the legendary Alexandre Desplat. Keeping the music subtle and more classical, Desplat’s score contrasts the sci-fi genre of the film and gears it towards the dramatic side, providing a heavier backdrop to the overall film. When watching the film, my ears kept picking up the music and it would grab my attention more than the story was and I instantly knew that it had to be a Deaplat score. As a huge fan of Desplat’s score, it’s clear that he is one of the best film composers working today and proves his amazing talent for working on any kind of film.

Overall, The Midnight Sky is a film that bites off more than it can chew. Individually, each aspect from the acting to the special effects to the scores work but when you mix it all together, it becomes a bit overwhelming without actually pushing a developed narrative. It’s great to see Clooney in front of the camera for a film since 2016’s Money Monster. I do wonder if the film would have benefitted more from a cinematic release. Granted cinemas are closed but this was always destined to release on Netflix. A lot of space dramas tend to have a stronger and positive response from a big screen viewing. That being said, it is a film I will probably revisit to see if I grow to like it more as there were some fantastic scenes throughout.

What did you think of The Midnight Sky? Let me know in the comments below!

The Midnight Sky is available to watch now on Netflix.

Categories
Uncategorised

The Snowman (1982)

One of the most beautiful animated short films ever made, The Snowman is a silent adaptation of the picture book illustrated by Raymond Briggs. Telling the story of James, a young boy who lives with his parents in the Brighton countryside. After a heavy night of snow, James makes a Snowman and wraps it in a scarf, a hat giving him a face and some buttons. He sneaks downstairs at midnight and sees the Snowman come to life and an adventure begins with James showing the Snowman around the house before the two take flight and soar to the Northern Lights.

Winner of a BAFTA TV award and nominated for the Academy Award for Best Animated Short, The Snowman has become a staple for British TV come Christmas time, commonly shown on Christmas Day alongside other Raymond Briggs adaptations. The Snowman was directed by Dianne Jackson who also worked on the animation as well which is lovely to see. Knowing that the film has been directed by someone who has the passion and knowledge for animation and knows what works and what doesn’t really enhances the love and care that has gone into this film. Despite its short running time of 27 minutes, Jackson successfully conveys the journey and developing friendship between James and the Snowman. After 27 minutes, we have been presented with two fully developed characters and really feel the heart-break that comes at the end.

The animation in the film looks like they have brought the beautiful illustrations from the book to life. Without any words, the audience can immediately capture the wonder and excitement that James is looking for. The character designs are simple yet extremely detailed and the mix of colours is captivating, especially when the Snowman and James visit the Northern Lights. The Snowman is proof that you don’t need the biggest budget and most advanced animation available to create something that is beautiful and timeless. The handdrawn style that The Snowman adapts never feels dated or old and perfectly captures the magic that story contains.

The score composed by Peter Blake and performed by the Sinfonia of London is the perfect partner with the film. Usually the music provides the backdrop but in the case of The Snowman, the music works alongside the animation. The Snowman is often categorised as a Symphonic Poem which is when the music dictates the story and vice versa. This kinship between music and film is what makes The Snowman feel like an experience or an event whenever its on. Alongside Blake’s beautiful score, there is also his iconic song “Walking in the Air” which is performed by choir boy, Peter Auty, in the film and then popularised by Aled Jones. The only “spoken” words in the film, the song is from James’ perspective as he embarks on his adventure through the skies with the Snowman.

The Snowman remains one of my favourite shorts and has been since childhood and it’s easy to see why. A beautiful story about love, friendship and grief, it’s a film that packs a punch and lingers after the credits roll. It’s a must watch every year at Christmas in my household and is a firm Christmas favourite that holds strong competition against feature length classics.

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

The Snowman is available on 4oD so make sure you have it scheduled to watch on or around Christmas day!

Categories
Uncategorised

The Muppet Christmas Carol (1992)

Carrying on with the Christmas film viewings and I have watched another that makes my annual list. The Muppet Christmas Carol tends to be a film that splits the audience. Some people absolutely love it and others class it as one of the worst films they have ever seen. Considering I own a giant cinema poster for the film that was from its release, it’s safe to say that I am definitely in the former and nothing gets me in the Christmas spirit more than singing along to the songs from the film. But more on that later! The Muppet Christmas Carol is an adaptation of Charles Dickens’ A Christmas Carol which follows the miserable bookkeeper, Ebenezer Scrooge, a man hellbent on misery especially during the Christmas season. On Christmas Eve night, he is visited by the ghost of his former business partner, Bob Marley who is bound in chains as punishment for how he treated people and subsequent Ghosts of his Past, Present and Future, who show him the kind of person he was, is and will be. By doing this, they allow Scrooge to evaluate his behaviour and turn it around before he is doomed to the same fate as Marley.

The Muppet Christmas Carol features all of your favourite Muppet characters with Kermit the Frog as Bob Cratchit, Gonzo as Dickens and Miss Piggy as Mrs Cratchit. Topping off the bill is Michael Caine as Scrooge and it works so well. Caine’s approach to filming was to treat his Muppet costars as if they were dramatic human actors and the result is a performance that feels completely sincere and moral, getting in touch with the message of the original story. Not only is this a fantastic adaptation of the Dickens material but it is done in a way that is fun and accessible for audiences of all ages.

Caine’s performance as Scrooge is actually among my favourites of his career. This may seem a bit odd considering the wide variety of “serious” films Caine has starred in over the decades but as stated before, his approach and the result is worthy to be up there. We really feel Scrooge’s emotional journey as he starts off as someone incapable of empathy and ends as someone who embraces their community. The turning point for his performance comes during his time with the Ghost of Christmas Present. This also happens to be my favourite segment in the film as it features the best song, “It Feels Like Christmas”, and is where the film begins to shift in tone from dark and gritty to uplifting and festive. Scrooge begins to truly see the ripple effect of his actions as we looks on at his nephew’s household as well as the Cratchit family where he becomes drawn by the youngest member, the sickly Tiny Tim.

Another highlight in this film is definitely the music and songs. I have already touched on this with “It Feels Like Christmas” but the opening number “Scrooge” really sets up the film fantastically as well. We follow behind Scrooge as he makes his way to work as everyday people sing about his miserable and selfish nature. Even before we see his face, we get a clear and well-rounded image of his character while watching lots of cute Muppets in adorable costumes harmonising in their signature way. The score composed by Miles Goodman is clearly inspired by Christmas Carol tunes, Victorian sounds and the uplifting Muppet music. The result is something that sounds timeless and fits well within the Muppet discography while maintaining a distinct and unique score. The same can be said about the songs written by Paul Williams. Using the text by Dickens for much of the lyrical inspiration, he really captures Dickens’ London while maintaining that Muppet feel.

There is no doubt that Jim Henson was a genius and this film marks the end of an era. Made in his memory, it is the perfect swansong to an illustrious career that was defined by bringing happiness and imagination to audiences of all ages. The Muppet Christmas Carol remains one of the best Muppet outputs of all time as well as a memorable and beautiful project of passion.

What do you think of The Muppet Christmas Carol? Let me know in the comments below!

The Muppet Christmas Carol is streaming on Disney+ so be sure to catch it as soon as you can.

Categories
Uncategorised

The Nightmare Before Christmas (1993)

For those who enjoy alternative Christmas films, there’s Tim Burton’s marvellous creation The Nightmare Before Christmas. Based on characters created by Burton and directed by Henry Selick, the film follows the residents of Halloween Town and popular figure Jack Skellington on his quest to bring Christmas joy in a bid to change things up. A mash up of Halloween and Christmas films that also flits across various genres such as light horror, musical, drama and comedy. The Nightmare Before Christmas also has the added bonus of being a great choice for family viewing as well which I have discussed in a previous post that you can read here.

The screenplay by Caroline Thompson perfectly encompasses Tim Burton’s vision with Selick’s direction perfectly complimenting the darkly comic tones of the writing. As we shift between the two worlds, we really get the inner struggle Jack has as he remains loyal to Halloween Town but also wants to explore the Christmas traditions. The Nightmare Before Christmas feels like a collaborate effort between its various creators in production and is clearly a labour of love. The stopmotion animation is perfect for the film as it brings something new to the Disney animation catalogue. Full of amazing sequences throughout, the contrast between the darker, murkier tones of Halloween Town and the bright dazzling colours of Christmas Town keep the audience attention as the two eventually merge together.

The voice acting in this film is among the best in animation with Chris Sarandon and Catherine O’Hara doing brilliant performances as Jack and Sally. Elfman provides Jack’s singing voice and does a superb job as well. Sarandon’s voice is hugely energetic and charismatic and captures that childlike wonder that Jack has when venturing into Christmas Town and bringing the Christmas cheer to Halloween Town. Likewise, Elfman’s vocal performances are all stellar and particularly in “What’s This?” when Jack is exploring Christmas Town. O’Hara’s take on Sally is a contrast, however, as she is melancholy and longing for freedom and Jack’s affection. There are so many beautiful sequences in this film but few get as iconic as the image of Jack and Sally on the whirly tree in the graveyard (you know which one I mean).

The star of the film comes in the form of the amazing Ken Page as antagonist, Oogie Boogie. A character that is literally a sack of bugs, Oogie Boogie is hellbent on taking Jack Skellington down with the help of his three minions: Shock (O’Hara), Lock (Paul Reubens) and Barrel (Elfman). Page’s voice is full of power and his performance of the appropriately named “Oogie Boogie Song” is fantastic. You can also sense how much fun Page is having with the role. Everytime I watch this film, I am always in awe of his performance. It is definitely among my favourite voice performances of all time.

Danny Elfman’s score and songwriting is a wonder to behold and his signature whimsical sound marks another amazing collaboration between him and Burton. In many ways, this feels like Elfman’s film as much as Burton’s with Elfman providing his usual genius score and songs as well as his singing voice for various characters. The soundtrack is full of many highlights from the instantly memorable “This Is Halloween” that opens the film to the sinister “Kidnap the Sandy Claws” in which Oogie Boogie’s henchmen, Shock, Lock and Barrel plan various ways to kidnap Santa Claus.

Overall, The Nightmare Before Christmas is a film that demands to be watched time and time again. It can be watched at Halloween and certainly at Christmas, making it a perfect film to crossover between the two. Despite not being directed by Burton, it remains a key part of his filmography and has become synonymous with his image. Burton’s vision is so strong that people tend to forget that it was Henry Selick that directed the film. The resulting film is a fantastic look into the dark side of imagination that manages to be both creepy and fun at the same time.

What do you think of The Nightmare Before Christmas? Let me know in the comments below!

The Nightmare Before Christmas is streaming on Disney+.

Categories
Uncategorised

Da 5 Bloods (2020)

Admittedly, it has taken me a long time to get around to watching this film but it has been one of my most anticipated for the year. As a huge Spike Lee fan, I am always excited to see what he brings out. After his brilliant 2018 offering Blackkklansman that finally won him a deserved competitive Oscar, the anticipation for Da 5 Bloods has been a repeat of much discussion for the upcoming awards season. The film follows four American veterans known as the “Bloods” who meet up in Vietnam to reflect on their time in the war and to search for their leader and the treasure they buried. Featuring a fantastic cast led by Delroy Lindo with support from the late great Chadwick Boseman.

As we have come to expect from Lee’s films, the direction and writing is top-notch. For Da 5 Bloods, Lee has collaborated with Danny Bilson, Paul De Meo and Kevin Willmott and I think usually four screenwriters can cause a bit of conflict in tone and dialogue but it works here. Da 5 Bloods is a two and a half epic filled with an array of detailed characters. Having multiple screenwriters actually enriches the quality of the writing and paired with Lee’s realist directorial approach, is pulled off brilliantly. Mixing the modern Vietnam with flashbacks as well as frequent clips from the news to draw parallels with the Vietnam War and the modern racial war in America. What makes Lee’s films so unique is his ability to combine multiple film mediums that feels as though you are watching a documentary at some points. Lee is undoubtedly a political filmmaker and this makes some viewers uncomfortable but it is an unapologetic point of view that I think contributes to a fearless and boundary-pushing approach to filmmaking itself.

As American veteran Paul, Delroy Lindo is phenomenal. Paul is clearly damaged from his experiences in the war. The more time he spends in Vietnam, the more aggressive and vulnerable he becomes. All of the men suffer from PTSD but in Paul’s case, this causes him to lash out violently. In one particular scene, a Vietnamese man tries to sell a chicken and this causes Paul to reach a boiling point, almost jumping to beat the man up when accused of killing his parents. The visit to Vietnam allows Paul to face his demons and confront the problems he has had in the subsequent years since Vietnam. His reluctance to talk about his experiences to a professional has resulted in the issues surfacing in such a way that he is unable to deal with his emotions. Netflix are campaigning for Lindo in the Leading categories for the upcoming awards season and I think he presents a very strong competition. It would be great to see such a challenging and developed role rewarded.

Chadwick Boseman’s performance as squad leader, Norman, is flawless. When onscreen, he commands the scene and acts the hell out of his character. It is clear that he is having fun in the role, maintaining the importance and dignity that the character represents. After gaining worldwide acclaim for his performance as the titular Black Panther, it’s brilliant to see Boseman in a film that is entirely different and demanding in a different way. Boseman’s performance is a snippet of what he could have continued to achieve before his untimely death earlier this year. I hope his performance is recognised in the Supporting categories with at least a nomination come award season. This role is a phenomenal addition to his extensive legacy and showcases his ability to adapt to genre pieces.

As with Blackkklansman, another great collaborator who Lee frequently works with is composer Terence Blanchard. Blanchard’s specialty is the trumpet and the strong brass sounds come through in this score, bringing the militia sound as a constant backdrop to the action. In addition, there are many songs fro. The 1970s included as well as classical pieces such as Richard Wagner’s “Ride of the Valkyries” which has become iconic in modern culture thanks to its inclusion in  the film Apocalypse Now, another film that looks at the Vietnam War. What Lee and Blanchard are doing by including such pieces are subverting the typical white-dominated war film and showing it from an African-American perspective.

Overall, Lee has knocked it out the park yet again with his fearless look into the African-American experience during the Vietnam war. Proving that he is still at the top of his game more than ever, Lee has made a film that again shows parallels with the mistreatment of African-Americans today with the mid-20th century. His ability to masterfully mix various mediums such as feature film, news clipping, cultural references in the music and performances that push the actors to their limits combine to make a film that seems as though it transcends the film medium and becomes art. A fantastic achievement for Spike Lee and I hope his efforts are rewarded come awards season.

What did you think of Da 5 Bloods? Let me know in the comments!

Da 5 Bloods is available to watch on Netflix now.

Categories
Uncategorised

London Film Festival 2020: Possessor

Film number 10 on my Festival watch list is one of the horrors I have been eagerly awaiting this year since its premiere at Sundance. Possessor is the latest ultraviolent offering written and directed by Brandon Cronenberg. Following Tasya Vos, an assassin who works by controlling the bodies of a pawn so her real identity is kept secret. From the opening, we see her grasp of control slip and this proves true in her new assignment when the man she takes over begins to fight back. As son of esteemed director David Cronenberg, it’s clear that there is a familial trait for creating films filled with explicit gore and pushing the envelope as to how far the human psyche can go. However, to dismiss Brandon Cronenberg as a copy of his father would be a huge mistake. There is an emphasis on the human condition that is done in such an interesting way that I haven’t seen before. There are so many layers to uncover in this film and so much going on that it can be overwhelming but in the best way possible. It’s done intentionally to reflect Tasya’s overbearing mind.

Cronenberg’s writing perfectly encapsulates Tasya’s experience and puts that into his script. The film’s pacing is so fast and sharp that you don’t even realise that it is a 100 minute film. It is absolutely non-stop, taking no time for a breather and Tasya doesn’t have time to rest during her assignment. The opening scene in which Tasya has taken control over a young woman called Holly and completes a mission is gripping and jaw-dropping. From the offset, it is clear that Cronenberg isn’t afraid of bringing an abundance of violence and gore but in a way that cleverly sets up the story and makes the audience ask questions, wanting to know more.

Andrea Riseborough has been delivering astonishing performances for years and her turn in the 2018 film Mandy was a standout in horror that year. It was only natural that she is finally given a leading role. Her performance as Tasya Vos is deeply complex. Tasya continues to work as an assassin despite her clear mental fragility and her slip on control and reality. It’s as though she thinks working will eventually rid her of the pain but her latest assignment proves more than difficult. It’s exciting to see Riseborough in a film like this that is so daring and exciting. Even though it is Christopher Abbott acting as Colin, Riseborough’s performance is so emotive and effective that we feel her presence through the film. This of course is also due to Abbott’s stellar performance as Colin, the man Tasya has been tasked with possessing. Abbott’s performance is vulnerable as he has to play Colin as Tasya inside of Colin’s head and then act out the conflict the two of them have. This is by no means an easy feat and he performs the hell of this role. As Vasya’s grasp on control loosens and turns to Colin’s favour, he becomes more violent and unpredictable to the point where he doesn’t know what he is doing anymore.

There are brilliant support turns particularly from Jennifer Jason Leigh and Sean Bean as Tasya’s boss, Girder and assassin target, John Parse, respectively. Leigh’s performance is subtly fantastic as her concern for Tasya slowly comes to light. She clearly feels a lot for Tasya but is so determined for her to complete the job. Always veering Tasya on the path on control, Girder refuses to lose faith in her employee and Leigh portrays this conflict she has with Tasya’s mind brilliantly. On the other hand, Bean is great as a semi-villainous businessman. Void of dignity and full of fake sentiment, John Parse is a man who is all about appearances. This is something Sean Bean doesn’t play often as he tends to veer towards likeable characters and he pulls this off with a really strong performance. He isn’t in the film for a long time but when he is he immediately draws the audience in with his unpredictability.

The music in Possessor is fantastic bringing aspects of techno sounds to elevate the sci-fi qualities of the film. Composed by Jim Williams, who has done a fair share of horror films, it appears to be a perfect match with Cronenberg and hits the tone of the film perfectly. The way the music is edited to reflect Tasya’s conflict as it overlaps and particularly the piece when she possesses Colin’s body is among the best score tracks I have heard this year. A brilliant and innovative soundtrack that is just as unpredictable and exciting as the film.

Brandon Cronenberg has proven himself to be a stellar writer and director with this film. Providing a brilliant mix of sci-fi and horror, Possessor keeps you on your toes with its many twists and turns as it brims with thrills throughout. It’s a visceral experience that will linger with you long after watching it. A brilliant addition to the best horrors of the 21st century so far. It’s very exciting to see what Cronenberg has up his sleeve next.

Possessor is showing at the BFI London Film Festival on the 16th October and is out in the United Kingdom on the 27th November 2020.

Categories
Uncategorised

London Film Festival 2020: The Human Voice

One of the projects I was really excited to watch was this half an hour short film written and directed by Pedro Almodóvar based on a play of the same name by Jean Cocteau. Premiering at this year’s Venice Film Festival, I was so excited to see that it was included in the London Film Festival line-up and knew I had to watch it. Starring the incredible Tilda Swinton as a nameless Woman whose mental health diminishes as her partner goes missing for three days. With the exception of a scene near the beginning in which Swinton’s character buys an axe from a hardware store, she is the only character onscreen. Primarily set in her luxurious apartment filled with glamorous clothes and modern art placed everywhere, it would seem that the character has a life worth dreaming but we soon learn that this is a mask for something much darker.

In true Almodóvar style, there is a heavy focus on the setting and a strong visual aesthetic that usually is more telling than the dialogue. The attic apartment the woman lives in is clearly a set within a warehouse. This highlights that like all the luxurious goods she owns that the materials are all fake. What Almodóvar does brilliantly is an analytical breakdown of a character that is shown little by little like a puzzle piece. Even when presenting a short film, it is filled with so much story and character analysis that a lot of features miss out. The script is action based in the first act before becoming dominated by what could be described as a monologue as the Woman talks to her estranged partner but we only hear her side. The way the camera follows the Woman from above and completely exposes the set is a fantastic artistic choice as well. It really plays into that feeling of the Woman being trapped inside a doll’s house and being stuck in her own little world.

Tilde Swinton is always a tour de force in whatever she does and this film is definitely a collaboration between her and Almodóvar. It makes perfect sense that they would work together. Her performance is, as expected, executed to perfection. Her magnetism draws you and you want to understand the character and get to know her. When she receives a call from her estranged partner, she plugs in her wireless earphones to talk to him. We don’t hear anything he says only her response. It is during this increasingly intense conversation that the mask begins to slip and cracks start to show. We understand her actions and why she has bought the axe and attacked the bed with it. The apartment clearly acts like a bird cage that the Woman cannot seem to escape from even though she knows that her relationship has come to an end. As she progresses in her conversation, she finds herself unwilling to dominate control over her partner and finds herself constantly apologising and submitting to his every whim. It is when he appears to hang up at a tender moment that breaks her and she is able to break away from his and regain her control. Although it may seem simple to be in a film by yourself, it is actually the opposite and Swinton knocks out a performance that I would argue is among her best.

The music composed by Alberto Iglesias is breathtaking and elevates the film to that dramatic and cinematic level. As the Woman lingers around the house and ventures to the hardware store, the score is what provides that ambience. The music allows the unspoken words to come through and is ever increasing in tension as the build up to the phone conversation takes place. It really assisted in heightening the drama and expressing the loneliness and mental fragility that the Woman feels.

Despite only being thirty minutes, this has proven to be one of the highlights of the festival for me. Almodóvar can always be relied on to deliver a project that is captivating and thrilling with a hint of horror without actually showing gore. His control as a filmmaker is superb and not everyone could pull off such a complex project in a way that feels so cinematic and artistic. The Human Voice is a reflection not only of what one can do with limited resources but that great cinema can be created with the pandemic restrictions.

The Human Voice is showing at BFI London Film Festival on the 17th October and will be released in the United Kingdom on the 6th November.

Categories
Uncategorised

The Tales of Hoffmann (1951)

Ludmilla Tchérina in Michael Powell and Emeric Pressburger’s THE TALES OF HOFFMANN (1951). Courtesy: Rialto Pictures/Studiocanal

This classic from the directors Michael Powell and Emeric Pressburger (collectively known as ‘The Archers’) has had somewhat of a resurgence in years of late. Based on the 1881 Jacques Offenbach opera of the same name which in turn is inspired by stories from E.T.A Hoffmann, The Tales of Hoffmann is a performative experience that combines opera, dance and cinema creating a final product that is more than just a film. Expectedly stunning in its visuals, flawless soundtrack and larger than life cast, The Tales of Hoffmann follows the titular character (played by Robert Rounseville) who reminisces on three love affairs that ended sadly when reflecting on a new love that he has for the ballet dancer, Stella (Moira Shearer). The opera is sung in English rather than its original French with the soundtrack composed by Sir Thomas Beecham. If The Red Shoes showed the dark side of ballet in its subtleties through the psychological breakdown of its protagonist, The Tales of Hoffmann does so in a way that is more light-hearted and comical.

With the exception of a few minor changes, the film is relatively faithful to the opera and as such is sung throughout. Only Rounseville and Ann Ayars (who plays Hoffmann’s third lover, Antonia) sing as well as act their roles. Having other people dub for actors is not uncommon during this period in filmmaking with Powell and Pressburger even adding the singers onscreen for the curtain call credits at the end of the film. The Archers’ appreciation for the arts shines through as ever in their meticulous attention to detail. It is clear that everything is well thought out and that each movement is dictated by the music whilst still remaining true to their style.

The set-up of the three stories sees its characters discussing their plots against Hoffmann in a bid to ruin him of his pride, money and career as we see him grow from a perspective student to affluent poet in the film’s duration. Robert Rounseville is superb as the titular Hoffmann and draws the audience in even when he isn’t singing. He is brilliantly reactive and attentive to what the other characters are singing. Hoffmann thinks on his feet but is incredibly stubborn at the same time with his companion Nicklaus (Pamela Brown) trying to warn him of sinister plots that befall him. The villain in the main story, Lindorf, is played by Robert Helpmann who also plays the antagonists in the three segments: Coppelius, Dapertutto and Doctor Miracle. This decision to reflect the opera was a brave choice because if done wrong it could look too forced and too stagey but Helpmann’s performance is fantastic and he manages to bring different personalities and mannerisms to each character. Lindorf is much more controlled and quiet in comparison to Coppelius who is loud and erratic.

Playing the women we have Moira Shearer who plays both Stella and Hoffmann’s first live, the robotic, Olympia, Ludmilla Tcherina plays the Venetian courtesan Giulietta who seduces Hoffmann for his shadow and Ann Ayars as Antonia who is slowly succumbing to consumption. The role of Olympia particularly is hugely sought thanks to her aria which is a standout in both the opera and the film, therefore it makes sense that The Archers picked Shearer who had recently played the lead in their previous film, 1948’s hugely successful The Red Shoes. A big decision Powell and Pressburger made was to prioritise dance and so Shearer is able to focus on her strength while Liverpudlian coloratura soprano, Dorothy Bond provides the singing. It is a beautifully delicate rendition. Tcherina on the other hand is miles away from her previous support role in The Red Shoes where she played lovestruck dancer, Irina. Her performance of Giulietta is seductive and manipulative. She is guided by the light of the glittering gems that adorn her neck and does not fear the consequences for those around her. The final segment which sees Ann Ayers as the ill-fated Antonia who lives with her disapproving father, Crespel. Antonia longs to see Hoffmann again and it seems as though Hoffmann has finally found the love of his life but it isn’t to be. The scene in which Antonia is poisoned by the evil Doctor Miracle is fantastically shot as she runs across her bedroom, opens one door and ends up at the other side of the same room. It makes for a surreal and terrifying scene that escalates quickly in its tension.

The costume design and production design by Hein Heckroth earned well-deserved Oscar nominations and it’s easy to see why. The brilliant thing about Powell and Pressburger films is that they seem contained in their own universes and this is largely thanks in part to the crew who do an amazing job at creating the lavish sets. The Tales of Hoffmann is a film that screams opulence and requires multiple watches to appreciate every scene. Heckroth had won an Oscar for Best Art Direction for The Red Shoes and he does not falter here. From the delicacy of Olympia’s dress to the offlandish and dishevelled suit that Coppelius are among the costume highlights and the Venetian set is remarkably detailed and exquisite.

The Tales of Hoffmann demands the audience attention and makes for a fantastic viewing experience. It feels as though Powell and Pressburger had worked to get to this point where they act as both director and composers. Their passion is felt through the film and it is wonderfully characteristic and deserves the attention it has been receiving as of late.

Have you seen The Tales of Hoffmann? Let me know in the comments below!