One of the films I was dying to watch last year but not got round to watching was the stellar The Peanut Butter Falcon. A first time directorial effort by Tyler Nilson and Michael Schwartz and featuring their close friend and aspiring actor Zack Gottsagen who dominates in his first performance as Zak, a young man with Down Syndrome who wants nothing more than to be a wrestler. Escaping the retirement home he has been forced to live at for the past two and a half years, Zak encounters local troublemaker Tyler (Shia LaBeouf) and the two embark on a journey to find a prestigious wrestling school so Zak can start his training. Also featuring Dakota Johnson as Zak’s carer and friend and Bruce Dern in a welcome cameo as Zak’s roommate Carl, The Peanut Butter Falcon is an outstanding debut that will make you laugh and cry as it explores the development of friendship and kinship between its characters.
The screenplay is also written by Nilson and Schwartz and it’s clear they took their time with it to make sure the tone was just right. The pacing is quick and constantly moving as all good road movies do and every minute adds more layers to the relationships between the characters. We learn about Tyler’s background through short flashbacks which are then paralleled with his new friendship with Zak and it’s enough to create that extra dimension for his character. Zak’s character on the other hand is the physical driving force of the movie as the literal journey is to visit the wrestling school that he wants to train at. The dialogue is tight and even the supporting characters are fleshed out enough despite the film’s short running time. It’s the type of screenplay that many spend years trying to craft but can never quite get the tone right.Shia LaBeouf and Zack Gottsagen are nothing short of spectacular and it is clear that their friendship goes beyond the silver screen. The rapport they have makes for one of the best duos I have seen in a film in quite some time. The contrast between the two is also important to consider when looking at this film. Gottsagen holds his own with ease against LaBeouf who has been acting since he was a child and has been showing real development in his film choices over recent years. I have always been a fan of LaBeouf’s acting since his early acting days in Holes (2003) and Even Stevens (2000-2003) to his more recent roles in Nymphomaniac (2013)and Fury (2014) showing his full transition from family films to more mature films. Compared to Gottasgen who is a complete newcomer, the casting could have caused serious unbalance but the two bounce off each other brilliantly. It’s obvious they are having fun with their roles and it makes it wonderful to watch from the audience perspective. Not to mention the groundbreaking inclusion of Gottsagen being an actor with Down Syndrome who is playing the lead in a film that celebrates talents and shows that dreams can come true without being overly sentimental. It’s a film that will be remembered and should be remembered thanks to its heart.
Dakota Johnson is also brilliant as retirement home nurse, Eleanor. Eleanor is naive and thinks she knows what is best for Zak but slowly comes to realise that he is capable of thinking for himself. I think Johnson really came into her own as the lead in Luca Guadagnino’s 2018 film Suspiria, a remake of the iconic 1977 Dario Argento film of the same name. She looks to be continuing her streak of good role choices as Eleanor presents a new challenge. Unlike her performance as ballet student Susie, Eleanor works tirelessly taking care of others while also dealing with her own loss having lost her husband. She refuses to be swayed by the consistent flirting by the men she encounters when finding Zak and has no problem putting them in their place.
Another aspect I enjoyed in the film is its soundtrack. The film takes place in North Carolina and this is reflected in the bluegrass tracks that provide the backing in the film. The music adds to the authenticity and rawness that Nilson and Schwartz were going for. The selection of songs are not too heavy and feel relaxed and stripped back, much like Zak and Tyler’s attitudes when they find comfort in their friendship.The Peanut Butter Falcon is a great film to watch with friends and family as well as being a film that can resonate with its audience really well. I am looking forward to seeing where Gottsagen career will go after this and see this film as a huge welcome to his career. I also hope that the studios act on the discussions of being more inclusive when casting.
What did you think of The Peanut Butter Falcon? Let me know in the comments below!
One of the most beautiful and somber films to come out of the 2010s is A Ghost Story written and directed by David Lowery. Premiering at Sunday’s Fil. Festival and distributed by the much-loved A24, A Ghost Story follows a young married couple C (Casey Affleck) and M (Rooney Mara) and the aftermath of the former’s untimely death at the start of the film. What makes this film such a standout is its simplicity and minimalist approach with limited locations and characters. The film is primarily filmed in their family home and showcases the figurative and literal destruction of the home as M’s life falls apart without her husband. The home is not a home. The screenplay is written by Lowery and his connection and intricacy in bringing his two protagonists to life with minimal interaction is no easy feat but he achieves this. It is a film that moved me and has provided much inspirational imagery and directorial approach that I feel sad that the film has almost been swept under the carpet.
Affleck and Mara both bring their A game to this film and give performances that are among the best in their careers. When C passes away he is reincarnated as a ghost donning a simple white sheet with holes cut out for eyes. We never see his eyes nor what is under the sheet yet Affleck’s presence and character is felt despite not speaking or providing much action. C is a musician and we hear glimpses of his song throughout bringing an unexpected electro and modern sound to the film. The music is what brings the film to its respective time period as the minimalism evokes a timeless quality. Mara is absolutely gut-wrenching in her turn as the grieving wife, M. We see a strong woman who is eventually broken down mentally and physically by the absence around her. We see a few encounters from friends and even a prospective date but the absence of C is too much for her to bear. There is only one scene when M is actually outside of the house and that is when she is identifying her husband’s body. In some respects, she is defined by her relationship to her husband but it could be argued that her struggle is actually a want and inability to move on and continue with her life. She slowly begins to recognise that C isn’t coming back no matter how much she longs for it.
It goes without saying that the highlight scene is the pie scene. This scene is infamous among film fans alike thanks to its raw one take approach to seeing a grieving wife literally eating a chocolate pie for five minutes until she makes herself sick. The scene itself is so simple yet so complex. Mara’s emotional spectrum is on display here as she eats and eats, delving into more and more despair as she longs to feel better following the funeral. The feeling of hopelessness and depression really shoot through as well as upset and loneliness. There are no words in this scene yet it says so much. It’s as if M is hoping her husband will return and stop her from eating herself to sickness but he doesn’t. In fact, no one comes and she is left alone to grieve and process what has happened. I think this scene alone warranted awards recognition but I think the rawness of the characters was probably too alien to the mainstream audience as it does make for uncomfortable and upsetting viewing.
Another scene that causes debates among its viewers is the monologue provided by a party goer, credited as the Prognosticator (Will Oldham) in the house next door. C observes as the Prognosticator talks endlessly about classical music and the Big Crunch which is a theory that claims that the universe is constantly expanding and eventually it will snap like a rubber band and collapse in on itself into a speck as if nothing existed at all. C’s frustration and anger throughout the scene causes him to make the lights flicker as he searches for meaning beyond the life he lived. The speech itself is a bit longwinded, lasting five and a half minutes. Its uneasiness and pretentious nature makes it seem longer because there is no one debating with him. It very much feels as if the Prognosticator is talking out to the audience or even the universe. It is important to note that the film has minimal dialogue so this speech is the true verbal standout the audience is provided with and I think it’s a skillful tip of the scale by Lowery who wants to create that feeling of uncertainty.
The structure of the film is unconventional following a repeat of the time that C and M lived in the house while C observes under his sheet and follows the next family to move in and the subsequent destruction of the home. It feels as though C and M’s memories together are trapped in that endless loop as the universe expands. Just as the Prognosticator claims the works of Beethoven will forever live in human memory, so will the time C and M spent in their house. When C finally reads a note M left and disappears it is sad but also brings closure to that loop and gives him a chance to leave the house just as M did before.
A Ghost Story is not your typical film exploring loss and grief but its impact and power comes from Lowery’s raw approach. Despite its seemingly effortless aesthetic, the films screenplay and character observation pushes through a complexity that transcends its simple storyline. It’s a film that will stay with you long after you watch it.
What did you think of A Ghost Story? Let me know what you think in the comments below!
One of the best actors working today without a doubt is Michael Fassbender. Born in Germany and raised in Ireland, Fassbender’s career has gone strength to strength showcasing his range from small-budget indies to massive blockbuster franchises. Garnering critical and commercial acclaim winning a slew of awards including the Venice Film Festival’s Volpi Cup for Best Actor (for Shame) as well as two Academy Award nominations for Best Actor in a Leading Role and Best Actor in a Supporting Role (for Steve Jobs and 12 Years a Slave, respectively). Fassbender never fails to push the bar and standout in whatever film he is. He has worked with a variety of huge directors such as Steve McQueen, Quentin Tarantino, Ridley Scott and Danny Boyle to name a few and is currently working on Taika Waititi’s new film Next Goal Wins.
There are so many performances that I could list but I managed to compile a list of my top favourite performances which I think are the best of the best. Hopefully if anything, this list will demonstrate the range that Fassbender displays from an Irish activist on a hunger strike to an English soldier in World War II to an American billionaire. He has really established himself as one of the most exciting method actors working in Hollywood today.
Without further ado, here are my top 5 Michael Fassbender performances in chronological order:
Hunger (2008)
The role that catapulted Fassbender to the A List is not one to be overlooked. The first collaboration between Fassbender and Steve McQueen already shows the fearlessness that they both have in their filmmaking and the roles that Fassbender chooses to take on. Fassbender plays IRA member Bobby Sands who takes part in a hunger strike for 66 days and also participates in a no-wash strike. The film also marks McQueen’s feature debut and won him the Camera d’Or at Cannes Film Festival.McQueen’s minimalist direction combined with a character driven script includes an incredible 17 minute shot in which Bobby is challenged to end his protest by Father Moran (Liam Cunningham). What Fassbender does so well in this film and his subsequent performances is his ability to pull off performances that are memorable but not over the top. What Hunger does is allow the focus to be on the performances of the actors because the film doesn’t have bells and whistles and special effects. Fassbender’s performance earned him a British Independent Film Award for Best Leading Actor and it’s easy to see why. His preparation for the role is evident in his dramatic weightloss pre-production. Hunger proves to be a great start when looking at the filmography for Fassbender as it shows his willingness to pick good roles and his dedication to method acting. Â
Inglourious Basterds (2009)
Following his stellar lead in Hunger, Fassbender starred in Quentin Tarantino’s fantastic revenge thriller Inglourious Basterds which is a fictional retelling of Nazi-occupied France during the peak of the War. The cast is led by Brad Pitt as Aldo Raine, the leader of the Basterds and stars Christoph Waltz in an Oscar-winning dazzling supporting turn as SS Officer Hans Landa, the latter of which was the major talking point for critics and audiences alike and with good reason. ANother brilliant aspect that comes from this film is Michael Fassbender’s small role as Leiutenant Archie Hicox, an English soldier drafted to France to assist the Basterds with their plan. His role is only short-lived in the film but what he lacks in screentime, he makes up for with charisma. Fassbender is memorable as the quick-witted soldier as he struggles to fit in with the others who are hellbent on revenge. The scene in the underground bar remains one of the best Tarantino moments and it’s largely thanks to Fassbender’s control of the character. As expected in a Tarantino film, the characters are larger than life and it’s clear that Fassbender is enjoying playing Hicox. As mentioned before, this is only a small role but it is a rewarding point in Fassbender’s career as it shows he can standout in a star-studded cast.
Shame (2011)
Fassbender’s second collaboration with Steve McQueen is a deeply explicit look at sex addiction. Fassbender plays Brandon, a high-living bachelor living in New York who is constantly having sex with prostitutes and masturbating in his workplace where he holds an Executive position. Brandon’s addiction is initially his lifestyle. Just like any other addiction, he is subconsciously engaging with sex in any way he can. The film documents the downward spiral Brandon experiences as his lifestyle begins to fall apart with the arrival of his self-harming sister, Sissy (Carey Mulligan) who stays at Brandon’s apartment as she has a few gigs as a lounge singer in the City. Sissy is openly lonely and upset, longing to bridge the broken relationship with her brother who has deluded himself into believing that he is not alone because he is constantly engaging with sex in some way or other. It is the slow-burning realisation that he is alone and that he is incapable of forming “real” connections that make way for Brandon’s downfall. The film earned an NC-17 rating in the US thanks to its explicit scenes which includes Fassbender appearing full-frontal. In an industry where full female nudity has become normalised, there is still a stigma around showing full male nudity. This role is understandably challenging and uncomfortable but Fassbender gives everything to the film. Brandon is deeply flawed and is looking for the puzzle piece that is missing in his life. Fassbender won a second British Independent FIlm Award for Best Lead Actor for his performance. It’s not the lightest film to watch by any means but it is an unafraid look into a common topic that is taboo in a very realist way.
12 Years a Slave (2013)
The third and (to date) latest collaboration between Fassbender and Steve McQueen is an adaptation of the memoir of the same name by Solomon Northup, a New York-born man who is kidnapped and sold into slavery in Louisiana in 1841. Featuring Chiwetel Ejiofor as Northup, Fassbender portrays plantation owner Edwin Epps, a despicable and inhumane person who takes pleasure in beating and raping the slaves who work for him. Fassbender is truly terrifying as Epps and the performance gives goosebumps due to his unpredictability. The scene in which he demands Northup whip Patsey (Lupita Nyong’o) and then proceeds to violently do so himself to a point where she almost dies is horrific to watch and shows a fearlessness in Fassbender’s performance. He is clearly not afraid to go the extra mile and show Epp’s evilness while keeping complete control of the character. This performance shows a different side to Fassbender’s range that we have not seen before, even in his previous antagonist roles. Epps is a man void of compassion and embodies evil incarnate. Thanks to McQueen realist and relentless direction, Fassbender successfully shows this and really gets under the skin of the character and presents this to the audience in a way that no filmmaker has done before. Everyone in the cast does justice to Northup’s story, especially Ejiofor, Nyongo’o and Fassbender, garnering awards attention for each. Fassbender was nominated for his first Academy Award for Best Actor in a Supporting Role.
Steve Jobs (2015)
My favourite Fassbender performances sees him take on the titular character in this Danny Boyle biopic. Fassbender practically becomes the Apple CEO and co-founder as we follow Job’s life from the launch of the Mac that lead to his firing ending with the launch of the iMac which is seen as his Apple comeback. It is such a subtle masterclass of acting that you forget that you are watching an actor. He perfects the accent, the mannerisms and manages to create a deeply complex character that allows the audience to form their on opinions on the man. Aaron Sorkin’s script is a brilliant foundation that Fassbender takes and adds that extra dimension to the film. It is his command of the screen that constantly grabs the audience’s attention and elevates the film to something more than a biopic. The film also features a strong supporting cast led by Kate Winslet, Seth Rogan and Michael Stuhlbarg but it is Fassbender’s lead turn that will leave a lasting imprint long after the film’s ended. The scene in which Jobs and Steve Wozniak (Rogan) argue whether the former should acknowledge the Apple II team in his speech at both computer launches. Jobs is clearly a highly intelligent man but his stubborness and pride hinders him and makes him appear alien and detached from those around him. Fassbender was deservedly nominated for the whole round of major awards and, in my opinion, I think he should have won because the performance is top tier. However, this was the year that Leonardo DiCaprio won all of the awards for his brilliant turn in The Revenant which made the competition one of very high standards.
It’s clear that Fassbender thrives in an environment where he is given challenging and different material. He clearly is wanting to consistently show more range and depth by starring in different genres and working with varying directors and budgets. He is an actor who wants to challenge topical taboos and portray characters who bring discussions among critics and audiences alike. I know that there are tons of performances I could have included such as his performance as Connor in Fish Tank, Magneto in the rebooted X-Men franchise and the titular role in Frank but each of the films I listed are the real standouts in terms of him pushing his range and his charaterisations. I look forward to seeing him in Waititi’s new film and what roles he takes in the future. hopefully this will include a film that sees him sweep the major awards that he is long overdue.
What are your favourite Michael Fassbender performances? Let me know in the comments below!
Going into the 92nd Academy Awards, it seemed that pretty much every category was a lock. Joaquin Phoenix was favoured to take home the Best Actor gong for Joker, Renee Zellweger winning Best Actress for Judy and Sam Mendes was the strong favourite to win Best Director for 1917 with the latter ultimately winning Best Picture. How much the Academy surprised us then when the Best Director trophy was awarded to Bong Joon-ho for Parasite and then his film won the Best Picture award, beating the odds. Personally I was very happy as I had placed a bet on Parasite to win so there was a monetary reward for myself but the happiness goes to another more serious level. 1917 is a prime example of a quintessential award film. Don’t get me wrong, 1917 is a brilliant film that is full of revolutionary technical achievement, particularly Roger Deakins’ cinematography but it is no secret that the Academy and other Western award bodies have a love affair with war films. So much so that it has become a running joke in the film industry that to win awards, you have to make or star in a war film.
For those who are not in the know, Parasite is a Korean film exploring classism and inequality in a society that only benefits the rich and leaves those poorer to live in the gutter (quite literally). It has been the source of much hype since its premiere at last year’s Cannes Film Festival where it won the top prize, the Palme d’Or, in a rare unanimous vote, marking the first Korean film to win the prestigious award. Korean cinema is among the best in the world and has been a leading institution for years for filmmakers and film lovers and it felt like it was finally getting its due in the mainstream. Bong Joon-ho has previously delved into English-language with Snowpiercer (2013) and Okja (2017) which have become much-loved modern classics and released to acclaim; however, I think it’s poignant that Bong’s ascendance to the global audience has come from a Korean-language film that explores Korean society. It is very much detached from Western society in both its subject matter and filmmaking technique, allowing Bong to direct without the restrictions that Western studios demand. The fact that a film like Parasite, a film that is inherently unique in its style and content can beat a film like 1917 shows that there is an appetite for a different kind of film experience. It also shows a promising step forward in what audiences now expect. Naturally, franchises such as the Marvel and DC films still top the box office but Parasite concrete proof that people want more variety in the cinemas as well. Parasite’s subsequent box office success after its award wins confirms this. Now that it’s been given the chance to screen in more cinemas, it’s been able to demonstrate that there is an audience who want to watch foreign-language films, snubbing the assumption that Western audiences don’t want to watch films with subtitles.
There are many people who dismiss award season as pointless and dim, viewing it as celebrities patting themselves on the back. I don’t think it is as simple as that though. The truth is people do pay attention to awards season and follow the films that are successful. Of course, a lot of time there are the usual suspects who are nominated time and time again, sometimes undeservedly but when you have a film like Parasite that isn’t given the same chance as a mediocre English-language film then the exposure that award season brings is crucial for the film’s box office success.
Overall, there were some brilliant films this award season but Parasite was the clear standout. The fact that it won the major awards is a sign that the Academy is looking at artistic merit and not just succumbing to making it a popularity contest. Parasite’s win may not seem significant but the importance cannot be understated. Hopefully this will spark the beginning of an awards body that seeks to be more inclusive and diverse, giving all films an equal chance.
Here are my reviews for some of the films of the 92nd Academy Awards:
Robert Eggers’ follow-up to 2015’s The VVitch is a mind-bending mesh of chaos, insanity and broken masculinity. Starring Robert Pattinson and Willem Dafoe as two lighthouse keepers who are stranded on the island after a storm hits, The Lighthouse shows the men’s mentality break and crumble in a fashion never before seen on film. Co-written by Eggers and his brother Max Eggers and inspired by the unfinished short story “The Light-House” by Edgar Allan Poe, The Lighthouse is a brilliant look into madness and mayhem from the outset as the protagonists drink themselves into oblivion when a storm hits. Distributed by the illustrious A24, the film has become instantly iconic for it’s beautiful cinematography, brilliant screenplay and magnetic performances. It is a film that commands attention from the outset and despite it’s simple plot, it is sublimely complex and groundbreaking. Eggers has proven yet again that he is a filmmaker to watch. More like his contemporary Ari Aster (Hereditary and Midsommar), Eggers is bringing a new perspective on the horror genre. His films are not afraid to be gory and disgusting in a different way while also bringing in dark humour and aspects of magic realism. Incorporating sea folk such as mermaids and sea monsters in a space where they are clearly fantasy to begin with but slowly slip into the reality and getting to the point where their existence could be argued.
Robert Pattinson proves that he is on a promising streak of strong performances following his stellar turn in Claire Denis’ erotic sci-fi High Life (you can read my review here). Pattinson plays Ephraim Winslow, a newbie to the lighthouse keeping game who is put to strenuous tasks by the elder Thomas Wake. When he finds a mermaid ornament hidden in his mattress, Winslow becomes fascinated by the eroticism that the sea has and becomes sexually obsessed to the point where his fantasies and realities collide. Even he doesn’t know what is real by the end of the film. The events in the film act as an awakening for Winslow as well as proving to be his demise. He’s a character who never feels settled and is clearly out of place in the job. His inability to understand why what they do is important and Wake’s reluctance to allow him to see the light actually prove to be motivators for Winslow as he doesn’t allow the job to overwhelm him. Pattinson’s character is manic, quiet and calculating at the same time and I think this film is solid proof of how far he has come from his Twilight days. Considering he found fame in a mainstream franchise and will be starring as the titular character in the new Batman film, I think starring in indie films like The Lighthouse shows Pattinson’s passion and his desire for good characterisation and artistic growth.
Willem Dafoe gives a flawless performance as is expected. Undoubtedly one of the best working actors today, Dafoe’s portrayal of the elderly Thomas Wake is a revelation. He is boisterous and unafraid to stand his ground, having no trouble delegating all the hard work to his companion. At the same time, there are many moments when Wake will change his stories and claim that the stories haven’t changed at all. It’s a role that requires fearlessness which is something that Dafoe has in spades. Known for his controversial roles and ability to play any character to perfection, Dafoe manages to reach yet another career best which is amazing considering the performances he has pulled off the past few years, particularly his turn in The Florida Project. What differs with his performance in The Lighthouse, however, is that this role feels more fantastical and removed to how we usually see Dafoe and the result is immense. I firmly believe that he was deserving of Supporting Actor nominations through awards season but it wasn’t to be as The Lighthouse was shut out from most categories. I think what Dafoe does brilliantly is challenging himself and showing time and time again just how much range he has as a performer. Wake is a despicable man who takes advantage of his protegee and yet he is captivating, incomprehensible and misunderstood.
The score by Mark Korven marks his second collaboration with Eggers after providing the eerily fantastic music for The VVitch. Created in a similar vein to the aforementioned, the score for The Lighthouse is clearly inspired by old maritime songs and merged with traditional horror tones. The result is a suspense filled mesh of mayhem that stands out clearly against the black and white backdrop of the film. It feels timeless and yet not suited for any time with its standoffish tone. There are many jarring string pieces that are like the tempting siren but then contrasting with the stormy surrounding and building tension as the relationship between the protagonists becomes more unbearable. Looking back, this has been a fantastic year for movie scores and even among all the best soundtracks, The Lighthouse proves to be equally simple yet effective, heightening the viewing experience.
I think this is a film that has the potential to go down as a horror classic. It feels experimental and brave, pushing the boundaries on film-making through the use of its contrast between simplicity and complexity. It’s a horror in many ways from its gore to its mental abusive nature and the inability to trust in its lonely characters makes it a nail-biting experience. I think it’s a real shame this was locked out of almost all categories but glad that Jarin Blaschke was recognised for his phenomenal cinematography. The Lighthouse has proven to be a marmite film among film lovers but it is a deeply rewarding experience and the vision is executed beautifully. It’s a film that I look forward to viewing again and again as I think I’ll notice even more elements that I admire. It makes me keen to see where Eggers’ career will take him next and eager to see if he continues with his great collaborations.
What did you think of The Lighthouse? Let me know in the comments below!
I have said this once and I will say it again. When Adam Sandler puts his mind to it, he can turn out a star-studded performance that most dramatic actors can only dream of. He did it in Paul Thomas Anderson’s 2003 Punch-Drunk Love and he’s done it again in the mind-warping Uncut Gems, directed by Josh and Benny Safdie (commonly referred to as the Safdie Brothers). Following Howard Ratner (Sandler), the owner of a luxurious jewellers in the Diamond District in New York and his inability to function as a normal human would. Crippled simultaneously by debt and a gambling addiction to boot, Howard is an awful human being and the Safdies make this no secret. The audience isn’t supposed to like him and yet we do because he is charismatic and pathetic at the same time. When a priceless gem is delivered to him and loaned to basketball star Kevin Garnett, Howard finds himself on the brink of self-destruction as he struggles to get the stone back and at the auction house where he expects to earn millions. Produced by powerhouse studio A24 and distributed on Netflix, Uncut Gems is the film equivalent of an anxiety attack thanks to the unrelenting actions of its protagonist who doesn’t know how to relax. Featuring a variety of celebrity cameos including The Week’nd, Tilda Swinton and Natasha Lyonne, there is also a strong supporting cast led by Lakeith Stanfield as Howard’s assistant, Demany and Julia Fox as Howard’s girlfriend, Julia.
The Safdie Brothers’ vision comes across brilliantly on the technical side. Known for their collaborations with Ronald Bronstein who cowrote the script with both Safdies and also co-edited the film with Benny Safdie. This is a film that needed more than one mind behind the vision and the result is crisp and sleek. The writing is sharp and to the point which is crucial as there are many characters and plenty of scenes in which lots of characters populate the screen. It’s a film that benefits from its direct nature meaning that there are few speeches and little emotion. When the film does delve deep into serious emotion, it feels almost disingenuous because the characters are so self-absorbed. It is the deeply flawed characters that gives the film its grit. What I love most about this film is how fantastical it feels in terms of the tone as Howard lives a luxurious life and yet the violence he is exposed to grounds the film. There is a disconnect between the life Howie should have and the life that he does have. Despite his wealth, he is constantly viewed as an outsider for a multitude of reasons. One such reason is his Jewish faith which is constantly remarked on by his clientele, friends and those he deals with when betting. Another such reason is his inability to maintain sustainable relationships. His paranoia overtakes his love for Julia because he cannot truly fathom that a woman like her could truly love a man like him. His insecurity is a constant throughout the film and is the main reason for his instability.
Adam Sandler is nothing short of brilliant in this film and should have been nominated for all of the awards including the Oscar. His performance is manic and seems lucid but the amount of work Sandler put into this character is clear. Howard is deeply complex. He is fully aware of his issues and yet doesn’t do anything about them. The film is constantly moving up and down as Howard’s rollercoaster way of living reflects the wins and losses he experiences in gambling. This film has become instantly quotable with gifs and memes flooding the internet. Howard’s sleaziness only adds to his dark humour and helplessness. The film is from Howard’s perspective meaning Sandler is onscreen for the vast majority of the film’s 135 minute running time. What makes the character of Howard so hypnotic and engaging to watch is that he acts like an unreliable narrator at times. We hope he pulls through but at the same time his flaws often outweigh his strengths. The climactic scene in which Howard is watching the final basketball game that he has bet all of his earnings on is deeply intense and yet he seems relatively calm. His certainty that he will win when his first bet was reliant on a coin toss is unbelievable. If there was an award for the most frustrating character in film history, Howard would definitely be up there but that is exactly how he is meant to be. He is one of the most unlikeable likeable characters I have ever come across and I think it’s credit to Sandler’s skill that he manages to pull that off.
The score provided by Oneohtrix Point Never is a showstopper. The tone that the score gives is in a similar vein to Jóhann Jóhannsson’s brilliant score for the 2018 film, Mandy. Much like Jóhannsson’s score, Oneohtrix Point Never’s score has also proven divisive but I think that Uncut Gems is a film that doesn’t hold back in its performance, script and subject matter. The music is futuristically nostalgic, merging various genres and sounds to create a soundtrack that is unique. Much like the protagonist, the score doesn’t seem to settle and keeps crashing through, heightening the tension and making for an anxiety-ridden audience experience. The score category in awards season was very strong this year but I still think it was a shame that the Uncut Gems soundtrack wasn’t at least recognised. The fact that it clashes with what you see on the screen adds to the jarring effect that the film brought.
Uncut Gems lives up to the hype and delivers brilliance in spades. It’s a shame that it wasn’t recognised this awards season but I believe that Sandler’s performance specifically will not go unnoticed. If anything, Uncut Gems has opened the door for Sandler to continue tackling challenging roles and it makes me excited to see what the Safdie Brothers have planned next. It’s a film that isn’t afraid to make light of the dark topics it explores such as addiction and violence. It’s reluctance to fit into a specific box of film makes it a stand out in the same way that Parasite is and I think it was stronger than a lot of contenders this awards season.
What did you think of Uncut Gems? Let me know in the comments below!
1917 is a World War I epic that seems to be the one to beat when it comes to the Best Picture award. Co-written, directed and produced by Sam Mendes, the film acts as a tribute to his grandfather, Alfred Mendes, based on stories that he would tell about the war. Following two young soldiers, Schofield (George MacKay) and Blake (Dean-Charles Chapman) who are tasked with travelling across enemy lines to warn off a British attack before they fall into a trap set by the Germans. The film has become well-regarded for its flawless editing, designed to look like two continuous shots. As well as beautiful technique, 1917 also boasts a stunning cast that includes well-loved actor of the big screen such as Colin Firth and Benedict Cumberbatch as well as TV favourites such as Daniel Mays and Andrew Scott. As expected, Mendes delivers and the continuous shots and editing only exemplify the non-stop nature of war. There is only one point in which the audience is allowed to relax at the start of the third act of the film. The writing is simple as Mendes lays focus on the physicality and the atmosphere rather than the dialogue. There are few monologues and those with speeches such as Andrew Scott’s Lieutenant Leslie are at rare moments of stand still. Co-written by Mendes and Krysty Wilson-Cairns, the script is minimalist in dialogue. Even when following the two Lance Corporals on their journey, we never really hear Schofield’s backstory because he is so withdrawn. One brilliant scene is when Schofield is picked up by a passing British unit and they are sat in the back of a truck. Schofield sits silently as the soldiers around him comment on their various backgrounds, imitate their General and comment on whether occupying other countries is worth the damage. It’s a poignant scene which brings in a humane aspect that is often missing from World War films.
The performances are impressive, particularly by George MacKay who is always on camera. He carries the film in the same way that he carries the message to the troops. It is no easy feat as an actor to hold so much pressure from such a big film but MacKay has shown promise from the early days in his career and his subsequent breakout performances in Pride (2014) and Captain Fantastic (2016). 1917 exploits MacKay to a mainstream audience that he won’t have been subject to in such a way previously. His Lance Corporal Schofield is reluctant to go on the mission and keeps his cards close to his chest but his determination to see it through is fearless, particularly in the final scenes as he runs through the trenches. Schofield and Blake appear to have different takes for their mission at the beginning. Blake is insistent on setting off immediately whereas Schofield logically believes in waiting until dark. Because of the emotional stake that Blake has in the mission (his brother is among the troops heading into the trap), Schofield has to ensure that Blake’s heart doesn’t lead his head.
The two protagonists balance each other out as Blake risks his own life to save Schofield when a bomb is set off in a German trench. Chapman is also fantastic as Blake who appears naïve due to his sentimental nature. When encountering a German soldier whose plane was shot down in a dogfight, Blake’s gut reaction is to assist and get the soldier some water to ease the pain whereas Schofield doesn’t hesitate to shoot at the enemy. As mentioned before, the supporting cast is littered with stars from the small and silver screens. Admittedly, the supporting cast are granted one scene each so it’s more of a cameo, but each actor makes the most of their moments. Andrew Scott particularly delivers a brilliant monologue as a Lieutenant who has little hope in winning the war whereas Benedict Cumberbatch’s Colonel Mackenzie views he retreat from battle as a sign of defeat. The fleeting appearances from the supporting characters is thanks to the perfectly linear narrative of the film itself. We see the two Lance Corporals setting off to warn the Devonshire Regiment and ending with Schofield sat beside a tree in a mirror image of the opening shot.
It would be a big misjustice not to mention the revolutionary cinematography and editing provided by Roger Deakins and Lee Smith, respectively. Both men are at the top of the game in their respected fields and they work fantastically as a team. What these men have managed to achieve feels as claustrophobic and in your face as the war itself. There are many comments from people saying that the continuous effect took some getting used to but for me it felt natural and flowed perfectly. The editing is in a similar vein to the technique used in Birdman but on a bigger scale. What Deakins does so brilliantly is simultaneously provide big explosions shots filled with action while also maintaining great focus on the individual protagonists’ faces. Despite everything that is going on around the soldiers, the audiences’ eyes are fixated on the characters. Deakins’ colour palette is muted as expected in a war film with greens and browns. There are no exaggerated colours or futuristic spectacles. Deakins ensures that the film is very much grounded in its reality. Together, Deakins and Smith manage to create a film that is visually captivating and stunning, making the best use of the environment given and its limited landscapes.
On the musical side of things, Thomas Newman’s score for this film is beyond incredible and has deservedly earned him his 15th Academy Award nomination. This year has seen a strong competition in the score category with both Thomas and Randy Newman pulling punches for their scores for 1917 and Marriage Story, respectively. Undoubtedly, the Best Original Score gong will go to Hildur Guðnadóttir for her stellar work on Joker making her the first woman to walk away with the award. It shouldn’t go unnoticed, however, that Thomas Newman’s score is among his best. Much like the editing, the film is reliant on its score which acts like a thread connecting the scenes. Needless to say, if Newman does end up winning, I wouldn’t be disappointed.
Overall, 1917 has proven to be a much better film than I had originally anticipated and I found myself moved and stunned by the technical and artistic achievement that Mendes has managed to pull off. I’m not sure if it’s a film that you need to watch more than once as I personally got everything out of the film that I needed in one go. I imagine that in time, it will become renowned and known for its technical aspects and the uniqueness in that field rather than the characters.
What do you think of 1917? Let me know in the comments below!
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.
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.
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!
One film that has brought much buzz among the acting categories is the Fox News centred biopic Bombshell. Following numerous women working at Fox and their experiences of sexual harassment at the hands of their boss, Roger Ailes, the audience follow the lives of three women at different levels of their careers are observed. At the top of the game there is Megyn Kelly (Charlize Theron), then there is recently fired anchor, Gretchen Carlson (Nicole Kidman) and at the bottom of the tier is newcomer Kayla Pospisil (Margot Robbie) who is based on a culmination of women who worked at Fox. This was not a film I thought would be as gripping or exploitive as it was but this film contains some very upsetting material that shows the trauma that women are forced to endure in order to be successful. The event that acts as a catalyst is Kelly’s encounter with Presidential candidate Donald Trump who tweets various misogynist insults her way after a challenging exchange during the Presidential debate. We see Kelly’s world turned upside down as her and her family’s livelihood is at stake at the hands of a ruthless paparazzi and a passionately threatening audience. Simultaneously, Carlson is fired from her position and seeks to sue Ailes for sexual harassment which is described as a money grab from those at Fox. Overall, it is a film that shows the hardship of women and how dangers in the workplace seep into their personal lives. Directed by Jay Roach and written by Charles Randolph, Bombshell allows its female protagonists to develop and grow while showing their vulnerability and resilience in their quest to end the patriarchal harassment that has humiliated women at Fox over the years.
Charlize Theron is so brilliant as Kelly. In the same vein as Monster, Theron transforms into her subject and manages to perfect every detail about them. Completely deserving of the nominations that she has received, Theron’s Kelly is poised, collected and observant. She is a woman who will not be messed around. This makes the scene in which she opens up about her experience with Ailes shocking considering her strength and influence in the workplace. During the conflict with Trump, Kelly doesn’t make any vengeful comments back and instead is aware that Fox’s access to Trump during the Presidential campaign is crucial. She is able to put her own motivations to the side. It is when she puts herself first that a wave of women from Fox come out and discuss their experience. It’s no surprise that Theron has garnered her third Oscar nomination for her portrayal as this controversial figure. She has this command when she is on the screen and a strength that makes it even more shocking when comments about her menstruating are used as an excuse for her challenging nature. She is constantly given a harder time because she is a woman and not taken as seriously as her male counterparts. Equally, Kelly has respect for Ailes and when the accusations come to light, she faces a struggle between her genuine loyalty to him and the truth. In the end, she realises that she must go with the latter but this isn’t a decision that comes easy or without consequence.
In terms of our supporting protagonists, we are given Margot Robbie and Nicole Kidman as newcomer Kayla Pospisil and fired anchor Gretchen Carlson, respectively. Robbie is beyond outstanding in support and continues a stellar year. The scene in which her character is harassed and forced to show her crotch to Ailes is extremely upsetting and difficult to watch. We see Robbie’s brilliantly layered expression as she is clearly distraught and uncomfortable herself at having to do this but she knows she must grin and bear it for risk of being fired. Kayla is a fictional character but the development of her character and the depth that she is portrayed with feels very real. The idea to accumulate multiple women into one has served Randolph’s script well as it allows various perspectives to be shown without confusing or overloading the audience with too many characters. Robbie gained an Oscar nomination for her portrayal and it is so deserved. Time and time again, Robbie is showing us her range and has managed to compile a really impressive filmography following her departure from Australian soap opera Neighbours. Kayla is a character who shows a side of Robbie that we haven’t been able to see before and makes it all the more exciting to see what roles she will take on in the future.
On the other hand, Kidman is definitely underused but packs a punch when she is onscreen. I understand that with three prominent protagonists, it can be tricky to prioritise whose story to go more in depth on but it would be wrong to underestimate Gretchen’s important in this narrative. She is the initial driving force and brings this story out to public knowledge. The opening scene shows other female anchors following the rules followed by a collection of clips of Gretchen being told that her outfits are lovely as well as comments on her body with Gretchen looking uncomfortable but laughing it off. She is immediately presented as an outsider from the get go. When confronted by a woman in the supermarket who tells her that her show and Fox News are a disgrace, Gretchen doesn’t understand and twists it back on the woman. The performance doesn’t require the same level of depth and development that Theron and Robbie have to bring because Gretchen is already at the stage of rebellion but Kidman loses herself in the role. We don’t see Kidman, we see Gretchen. It would also be wrong not to mention the eerie performance from John Lithgow as Ailes. It isn’t easy to play a role like Ailes as someone who seems kind and respected but so manipulative and abusive beneath the surface. Despite having limited screen time, Ailes has a horrifying and lingering presence over the whole film and that is thanks to Lithgow’s intimidating command that he has when he is onscreen. He is very much a puppet master.
Bombshell was a surprisingly intense and thrilling film to watch. The limited use of location, primarily the Fox studios makes for a claustrophobic experience that reflects the entrapped environment that the woman work in. The intriguing part about it is how the women start speaking out without really talking to one another for fear of being outed as a traitor. Thanks to its controversial subject matter and triple female protagonist set-up, it probably will have limited success at awards season but the fact that it has received nominations is a great achievement. Theron, in particular, really brings her A game and delivers her best performance in years.
What did you think of Bombshell? Let me know in the comments below!
With the hype of awards season in full swing, I thought I would take a look back at some older favourites of mine. Inspired by the Judy Garland biopic, Judy, what better way to connect the current awards season with a favourite classic of mine and discuss the wonderfully magical The Wizard of Oz (1939). Commonly seen as the film that propelled Judy Garland to stardom at the tender age of 16, cementing her legacy in Hollywood for years to come. The film is adored by fans of all ages and a regular watch at Christmastime. Following Kansas teen Dorothy Gale who is whisked away in a tornado along with her dog, Toto and landing in the mysterious land of Oz. Dorothy must team up with the unlikeliest of friends and find the great Wizard to find her way home. The film was mainly directed by Victor Fleming who left the production to direct Gone With the Wind and the remaining work was taken over by King Vidor. The screenplay was written by Noel Langley, Florence Ryerson and Edgar Allan Woolf and based on the classic children’s book The Wonderful Wizard of Oz by L. Frank Baum, The Wizard of Oz is a masterclass in classic Hollywood cinema.
Judy Garland is absolutely breathtaking as Dorothy. Probably one of the most perfect casting choices in film history. From her brilliant expressions and sheer talent for being an all-rounder, it’s hard not to feel moved by Garland’s performance, particularly when she sings “Over the Rainbow”. Garland’s background and the tragedy behind her experience filming this is well-known. The trauma Garland went through during the filming was sure to have had a lasting effect on her for the rest of her life. This makes the performance even more heartbreaking watching in retrospect. Dorothy has enough bravery and courage to face her enemies and stand up for herself but there is still vulnerability there and a maturity that makes her seem older than her years while at the same time bringing in that childlike innocence.
In terms of the supporting cast, the most iconic comes in the form of Margaret Hamilton’s brilliant turn as the Wicked Witch of the West. She’s just a plain nasty character and her only motive is ensuring that Dorothy doesn’t succeed in her quest. Hamilton’s voice and characterisation is a performance of legend and has resulted in one of the most identifiable villains in film history. Whether it is one of her trademarks such as “I’ll get you, my pretty, and your little dog too” to the iconic melting scene in which we see the Wicked Witch defeated after Dorothy throws a bucket of water over her. Out of the three friends, my favourite is the Cowardly Lion (Bert Lahr), mainly because I love the costume design so much and his performance of the song “If I Were King of the Forest”. It’s a film that is rich in distinguished characters that, although simple, does a good job of giving them enough screen time to be distinguishable.
I don’t know where to begin to talk about my love for the use of colour in this film. Aside from being iconic thanks to its amazing switch from black and white to brilliant technicolour with the simple opening of a door. There is so much to look into beyond Kansas representing the normal and dreary everyday and Oz being somewhere completely different. The location and setting for Kansas is natural with realistic looking prop whereas Oz is crammed full of fake creations. Munchkinland in particular is the epitome of the Oz aesthetic. It makes for a fantastically striking entrance into the land of Oz. Maybe it’s because we’re adjusted to the black and white set up that makes the colour pop out the screen even more, the design of Oz is truly spectacular. Also, the use of colour for the characters is beautifully done. From the contrast between the ruby red slippers that Dorothy wears with the Wicked Witch’s green skin and the metallic hue of the Tin Man’s paint with the Cowardly Lion’s golden mane. Oz is a land that although entirely built from imagination, also includes a multitude of texture.
I’ve already touched on the music before but it deserves a section on its own. The film is crammed full of brilliant songs that have stood the test of time. Undoubtedly, “Over the Rainbow” is the most popular but most people would also be able to sing or hum along to the likes of “Ding-Dong! The Witch is Dead” and “If I Only Had a Brain”. It is undeniable that Garland’s voice is beautiful and flawless, striking the perfect amount of emotion in her songs. Looking through the soundtrack, it is amazing to think that so many songs have gone down in cinema history as classics. A lot of the legacy from The Wizard of Oz comes from its Academy Award winning score by Herbert Stothart. Not to forget that “Over the Rainbow” also won the Oscar for Best Original Song for Harold Arlen and Yip Harburg. It’s a whimsical soundtrack that allows its audience to escape to Oz with Dorothy.
I am sure given that I love films like Snow White and the Seven Dwarfs and The Red Shoes that I am just as fond of this one. The Wizard of Oz is an outstandingly beautiful cinematic achievement and a prime example of a film that is suitable for all ages and all cinematic tastes. It is a film that combines drama, comedy and musical while also not fearing to delving into themes of loss and friendship. Dorothy is ultimately on a journey to finding out who she is and discovering her place of belonging. It’s this relatability that makes the film so identifiable with audiences around the globe.
What do you think of The Wizard of Oz? Let me know in the comments below!
Shia LaBeouf and Zack Gottsagen are nothing short of spectacular and it is clear that their friendship goes beyond the silver screen. The rapport they have makes for one of the best duos I have seen in a film in quite some time. The contrast between the two is also important to consider when looking at this film. Gottsagen holds his own with ease against LaBeouf who has been acting since he was a child and has been showing real development in his film choices over recent years. I have always been a fan of LaBeouf’s acting since his early acting days in Holes (2003) and Even Stevens (2000-2003) to his more recent roles in Nymphomaniac (2013) and Fury (2014) showing his full transition from family films to more mature films. Compared to Gottasgen who is a complete newcomer, the casting could have caused serious unbalance but the two bounce off each other brilliantly. It’s obvious they are having fun with their roles and it makes it wonderful to watch from the audience perspective. Not to mention the groundbreaking inclusion of Gottsagen being an actor with Down Syndrome who is playing the lead in a film that celebrates talents and shows that dreams can come true without being overly sentimental. It’s a film that will be remembered and should be remembered thanks to its heart.
