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Review

Die My Love (2025)

Die My Love is the latest offering from the incredible Lynne Ramsay. Coming almost a decade after her previous film, You Were Never Really Here, Die My Love follows doomed lovers, Grace (Jennifer Lawrence) and Jackson (Robert Pattinson) as they navigate parenthood in their new home. The film blurs the line between reality and the darkness that Grace begins to experience as she struggles with the pressures of being a new mother.

What makes Lynne Ramsay an excellent director is the fearlessness in her approach. Her films utilise morally ambiguous protagonists in a bid to discuss a larger and more universal topic which in Die My Love is postnatal depression and the pressures placed on mothers. As ever, the direction is striking as Ramsay uses the house as a metaphor for Grace’s state of mind. The opening scenes show the house empty but filled with potential and excitement as Grace and Jackson dance and goof around. Soon enough following the birth of their baby, the house becomes cluttered and dark to the point where it is completely unrecognisable. We see her try to keep herself under control while using the neighbouring woods as an outlet for her animalistic movements. However, the scene where Grace loses control and suffers a breakdown in the bathroom is extremely harrowing as she does significant damage to herself and the home in such a tiny enclosed space.

Jennifer Lawrence is electric in her turn as Grace, giving a phenomenal performance that is reminiscent of mother! in its darkness and grit. Lawrence is in a new phase of her career with complete control over her roles while also adding producer to her resume. If mother! showed a woman struggling to maintain order in a world that actively works against her then Die My Love is the result of that woman endlessly fighting against the judgement of those around her. This performance feels personal and has a rawness that only works thanks to Lawrence throwing herself into the role with everything she’s got. Grace is a character that pushes Lawrence beyond any other performance she has done and while there are some great physical moments that showcase Lawrence’s range, the scenes where she is able to convey her struggles subtly are the most heartbreaking. The scene where Grace and Jackson go to a friend’s house and Grace feels judged by the other mums. There is a fire and sorrow in her eyes that is so poignant that you feel her mind spiraling as she is triggered.

Robert Pattinson has such an eccentric filmography and that shows no sign of stopping any time soon. While the film is undeniably Lawrence’s, he still holds his own as Jackson. Grace’s struggles are front and centre to the film, but in the background we have Jackson who is grieving the recent loss of his father while also adjusting to his new role as father to his son and the pressures of being the sole moneymaker in the household. His attempts to make life better and more “normal” such as buying a dog may seem well-intended but in not warning Grace and refusing to help with the dog’s training, the sentiment doesn’t translate. In trying to create a façade of a nuclear American family, Jackson forces Grace to adhere to stereotypical traditional tropes, which is something that no woman can truly meet in this day and age.

Sissy Spacek rejects the bitchy mother-in-law tropes too frequently seen. Her performance as Jackson’s mother, Pam, is small but mighty, serving as an ally for Grace. Where other filmmakers would craft a character that is “out to get” Grace, Pam is understanding and concerned. She understands firsthand what Grace is going through in a way Jackson can’t because she too has suffered from the same pressures of motherhood. There’s a melancholy in Spacek’s performance as she is unable to stop Grace’s suffering, even when giving her the knowledge from hindsight.

Seamus McGarvey’s cinematography plays a big part in encapsulating Grace’s slip from reality as her depression and hopelessness builds. McGarvey uses open spaces to highlight the terror in the unknown. The most heartbreaking moments in the film come when the camera lingers on Grace’s face a little too long where we begin to feel her discomfort and misplacement. There is also a powerlessness as the camera sits almost at a distance like an observer, unable to intervene and make things better. This adds to the frustration that the characters feel as they succumb to their struggles.

While Die My Love is not an easy watch in any way, it’s unflinching look into postnatal depression and the realities of motherhood will undoubtedly leave its mark on you. Lawrence delivers a career-best performance that feels raw and fearless, making Grace not only a fully-rounded character, but one of the most “human” characters put to screen. Hopefully we won’t have to wait another decade for Ramsay’s next film because her strength to explore these issues in such an artistic and complex way creates some of the best characters we have seen in cinema.

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Review

Oppenheimer (2023)

Cillian Murphy as J. Robert Oppenheimer in OPPENHEIMER, written and directed by Christopher Nolan

The Best Picture favourite going into awards season is none other than Chrostopher Nolan’s nuclear epic, Oppenheimer. Spanning the life and career of Robert J. Oppenheimer, the “Father of the Atomic Bomb”. Starring Cillian Murphy in the titular role, Oppenheimer is a three-hour insight into the work and personal life of one of the most controversial figures in modern history.

Written and directed by Christopher Nolan, Oppenheimer is based on the biography, American Prometheus by Kai Bird and Martin J. Sherwin. Nolan’s unique perspective stemmed from the writing process as the entire screenplay is written from the first-person. This exacerbates the fact that Oppenheimer provides a limited view as the titular character is in almost every scene. The film flits between key points in Oppenheimer’s life spanning his beginnings as a budding physicist to the aftermath of the nuclear bombings on Hiroshima and Nagasaki. Nolan’s direction feels controlled and focused, his passion for the project coming through in every frame.

As the titular character, it can be argued that Oppenheimer lives or dies from the Cillian Murphy performance. Murphy can always be trusted to bring a nuanced performance. His turn as Oppenheimer is so intimate and yet always holding the audience at a distance. Seeing his internal conflict between the scientific achievements and the ethics rise to the surface in the final act is gripping. The scene in which Hiroshima has been been bombed and Oppenheimer begins to envision corpses on the follow among the ruptuous applause from his colleagues is one of the best scenes in any Nolan film.

Providing a standout performance in support is Robert Downey Jr. Having dominated cinema screens for the past decade as Iron Man in Marvel Cinematic Universe, Oppenheimer may be the first project a lot of people have seen Downey Jr outside of the franchise. The performances couldn’t be more different and sees Downey Jr return to form. Playing the antagonistic Rear Admiral Lewis Strauss who is hellbent on taking Oppenheimer down, he commands every scene he is in. His scenes with Murphy are among the best in the film and it’s up there with his other phenomenal turns in films such as Chaplin and Tropic Thunder.

Cillian Murphy is J. Robert Oppenheimer in OPPENHEIMER, written, produced, and directed by Christopher Nolan.

There are a plethora of supporting turns in the film that are impressive. Another that is garnering a lot of attention is Emily Blunt as Katherine “Kitty” Oppenheimer. One consistent critique of Nolan’s previous films are the lack of female characters. When there are female characters, they tend to be underwritten. Kitty is probably the most in-depth female character that Nolan had included in his filmography. Blunt’s performance is subtle and brilliant, especially towards the end when her anger at the government is evident following their dismissal of her husband.

The score by Ludwig Gorrenson captures in the inevitability of the bomb. Filled with dramatic crescendo and loud bombastic sounds, Gorrenson’s music becomes a dominant force during the film’s climactic scenes. The opening track “Fission” really highlights the anticipation and inevitable change in history. Gorrenson isn’t afraid to change the tone and pacing of tracks to emphasise the unpredictability and shift in dynamics and events.

The cinematography by Hoyte van Hoytema is stunning. The standout scene in the film is when the Trinity Test is carried out and this is thanks to van Hoytema’s incredible work. The focus on Oppenheimer as he waits for the results swiftly followed by blinding light marks a visual change in the film. The scenery in Oppenheimer consists largely of open spaces but there is such a pinpointed focus on the characters that it really closes the environment in towards Murphy and his performance.

Overall, Oppenheimer does have a runtime that could have been edited down ever so slightly, especially in the first act. However, it is also one of Nolan’s best films as director. His passion and knowledge on its subject piercing through every frame from beginning to end. It is a film filled to the brim with details and nuanced performances that makes it easy to see why it is garnering so much critical and commercial praise.

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

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Review

Anatomy of a Fall (2023)

One of the most exciting inclusions in the upcoming awards discussion is Anatomy of a Fall. Winner of the Palme d’Or at the 2023 Cannes Film Festival, the film follows novelist Sandra Voyter (Sandra Hüller) who is accused of murdering her husband, Samuel (Samuel Theis). Making use of the French Alps setting, Anatomy of a Fall is a film that perfectly balances open space with a claustrophobic feel.

Directed by Justine Triet who co-wrote the screenplay Arthur Harari, Anatomy of a Fall is captivating from beginning to end. Triet’s direction has a timeless quality, drawing inspiration from classic crime dramas with the use of close-ups. The surface plot regarding Samuel and his death serves as a door into Sandra’s character and her life. Triet’s triumph at Cannes is well-deserved, becoming the third woman to take home the Palme d’Or.

Sandra Hüller provides one of the best performances of the year as Sandra. The role was written with her in mind and this is made clear beyond the name. Hüller slips into the character of Sandra seamlessly, encapsulating every essence of her being. There is a wonderful subtle quality to the performance that leaves the audience unsure as to what she is thinking. It also cannot go unnoticed that Hüller also excels in another 2023 film in Jonathan Glazer’s The Zone of Interest. Both films received top prizes at Cannes (The Zone of Interest received the Grand Prix which is often regarded as second place) and this is thanks in large part to Hüller’s ability to really connect with her characters and provide layers and layers to her performances. The argument scene between Sandra and Samuel in particular is an acting masterclass and should earn Hüller nominations across the board with potential wins.

Swann Arlaud is fantastic as Sandra’s lawyer, Vincent. Anatomy of a Fall is undoubtedly Hüller’s film but the character of Vincent is essential as we learn so much about Sandra’s background through their conversations. Arlaud’s performance feels natural and serves as the audience’s way into understanding the mechanics of both the main plot and also learning more about Sandra and her struggles.

One of the standout performances in the film is Milo Machado Graner as Sandra and Samuel’s son, Daniel. Although his role is relatively small, he does a brilliant job, especially for a child actor. Like Sandra, Daniel keep his cards close to his chest. We see him vent his emotions through piano practice and sense his frustration and upset at the situation. It’s great to see Graner receive recognition for his wonderful performance.

The cinematography by Simon Beaufils is stunning in every setting. From the open landscapes to the chalet interior, Beauflis’ work captures seemingly idyllic and scenic images in a way that subverts these qualities and feels claustrophobic and uncomfortable. The use of natural light allows the vulnerability of the characters to shine through while the openness of the mountain range contrasted with the smallness of the chalet captures the overall mood of the film.

Overall, Anatomy of a Fall is a film that commands your attention. The writing is impeccable and Hüller leaves you hanging on every word. If only France had submitted this film for the Academy Awards it would have been the frontrunner. However, it would be a surprise not to see Anatomy of a Fall included in some major categories on nomination day, especially for Sandra Hüller’a magnificent performance.

What did you think of Anatomy of a Fall? Let me know in the comments below!

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Review

Past Lives (2023)

Past Lives is a beautiful film that presents two intricate character studies. Bringing the minimalist approach, it is a film that speaks volumes and weaves its non-linear narrative to create a heart-wrenching story of identity, love, and the loss of love. The film follows Nora Moon, a New-York based playwright who moved to Toronto from Korea as a child. By chance, she sees a comment on Facebook from childhood friend from Korea, Hae Sung, who is looking for her. They reconnect and the film follows the dybamics between the two as well as Nora’s husband, Arthur. Starring Greta Lee as Nora, John Magaro as her husband, Arthur, and Teo Yoo as childhood friend, Hae Sung, Past Lives is captivating from its opening shot.

Celine Song is undoubtedly the breakthrough writer and director of the year and it’s easy to see why. The film serves as a character study for Nora’s character as we see the entire film from her perspective. With lingering shots and thoughtful dialogue, Past Lives is a film that isn’t afraid to take its time. The screenplay is beautifully laid out following a non-linear structure as we begin to piece Nora’s life together like a puzzle. Song’s direction is equally intense as there is a significant focus on the characters, showcasing a film that looks sleek and excellent whilst also backing it up with plenty of substance.

Greta Lee provides one of the best performances of the year as Nora. Lee has been making her mark in shows like The Morning Show and Russian Doll, but here she is given the lead performance and what a breakthrough it is. Having won the Best Actress Award at Sundance Film Festival earlier this year, there was a lot of anticipation. Her turn as Nora is a beautifully subtle character study. Nora grew up in Seoul, South Korea and moved to Canada with her family as a child. We begin to learn about her experience as a Korean-immigrant and her perspective as someone who has spent of their life in North America.

The supporting turns by Teo Yoo and John Magaro are both fantastic, especially Yoo playing Nora’s childhood friend, Hae Sung. Yoo captures the downward spiral that Hae finds himself in. As he reconnects with Nora, it’s clear that he feels an inkling of hope. It’s as though Nora is a missing piece in his life. In Nora, he sees a life that he aspires to live as his own hasn’t panned out in the way he had hoped. The scenes between Yoo and Lee are beautifully to watch from their initial awkward encounter to their melancholy final scene. Magaro’s performance as Arthur is equally emotional as he sees Nora begin to reconnect with her Korean roots and has to watch as her chemistry with Hae Sung begins to spark.

The transcendent score by Christopher Bear and Daniel Rossen plays into the subtleties. Rather than drowning the visuals, the music works as an accompaniment and works to serve the performances. We feel the tension rising between Nora and Hae Sung in tracks such as “An Immigrant and a Tourist”. There is a whimsical element to the arrangements that feeds into the childhood aspects of the film. The music connects adult Nora and young Nora and the consistent tones serve as a connective thread to her character.

The cinematography by Shabier Kirchner makes Past Lives such a layered film. The wide shots showcase how small Nora is against the city backdrops whilst also remaining incredibly intense and personal to her perspective. The use of lighting in the opening scene quite literally places a spotlight onto the three characters as they are immersed in their own little bubble. Kirchner’s work makes Past Lives so individual to Nora’s perspective while also remaining universal and relatable thanks to these contrasts. The minimalist approach is captivating and makes it one of the most beautiful-looking films of the year.

While it may seem simplistic on the surface, Past Lives is one that allows the emotions and characters to grow gradually. We feel the dynamics shift and change as we learn more about Nora and Hae Sung’s past in Korea. There is a lot to be gained from this film and it whole-heartedly deserves repeat viewings. Past Lives will be looked upon as a classic in years to come.

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

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Review

Bullet Train (2022)

Summertime tends to see the release of big Hollywood blockbusters and action films and one that has been widely marketed is Bullet Train. The film follows mercenary Ladybug (Brad Pitt) who is tasked with acquiring a briefcase from a bullet train that is travelling between Tokyo and Kyoto. Ladybug has undergone therapy after experiencing bouts of bad luck throughout his career and applies a newfound optimism to the job. Unbeknownst to him, the bullet train is not only carrying the briefcase owners, Tangerine (Aaron Taylor-Johnson) and Lemon (Brian Tyree Henry), but also The Father (Andrew Koji), The Prince (Joey King), assassin The Hornet (Zazie Beetz) and The Wolf (Benito A. Martínez Ocasio aka Bad Bunny). All these characters have their own reason and motive for being on the train yet they all seem to be connected to the mysterious White Death (Michael Shannon).

The film is directed by David Leitch with the screenplay written by Zak Olkewicz based on the book of the same name by Kōtarō Isaka. The majority of the film takes place on the train but the way Leitch directs feels as though each carriage is in its own world. This is a film that has a lot of moving parts and players involved so at times the screenplay does suffer as we get to learn about some characters more than others. Even though Ladybug is the protagonist, it seems that the screenplay has extended portions dedicated to side characters who don’t serve as much to the larger plot or aren’t present in the film for as long. However, the quick edits and action-packed sequences ensure that the audience isn’t bored when watching. Leitch’s direction is clearly inspired by the likes of Quentin Tarantino and while the film’s homage to Japanese culture may not be the strongest, it does remain an entertaining watch throughout.

Brad Pitt plays protagonist Ladybug, who has adopted an optimistic outlook following time in therapy. Trying to avoid any violence on his mission, Ladybug sure enough experiences more violence and gore than ever before but luck seems to swing in his favour. Pitt’s performance is absolutely delightful and charismatic, showcasing a funny side to him like we got to see in Once Upon a Time in Hollywood. The scenes in which Ladybug begins to ramble about his new perspective on life and seeing the reactions of other mercenaries and assassins on his journey is hysterical.

When it comes to the supporting cast, the highlight undoubtedly is Aaron Taylor-Johnson as Tangerine. Taylor-Johnson arguably has the most to play with in terms of characterisation for the supporting characters as he and twin, Lemon, have to deal with the liss of the briefcase. Taylor-Johnson has had an extensive career that spans across multiple genres but Bullet Train feels akin to Kick-Ass in terms of its sweary, non-stop action. However, his performance as Tangerine allows him to channel a rough assassin who also has a soft side, especially when it comes to his brother. In a film full of laugh-out-loud moments, Taylor-Johnson is responsible for a lot of them.

Playing Tangerine’s brother, Lemon is Brian Tyree Henry, who has had an extensive career in TV and film that crosses a multitude of genres. Although he is a dangerous assassin, Lemon shows affection for the TV show Thomas the Tank Engine throughout, saying that he learns a lot about people through the characters on the show. Although the metaphor does grow tiresome eventually, it does allow for some sweet moments, especially between the brothers when things don’t go according to plan. Henry’s performance as Lemon is great and he has great chemistry with Taylor-Johnson, but it feels as though he wasn’t given as much room to develop in the same way that Tangerine is which is a shame as the brothers provide some of the funniest moments in the film such as a flashback where they debate how many people they killed during a mission.

One thing that is undeniable about Bullet Train is how striking it is to look at. The cinematography by Jonathan Sela plays a huge role in this as Sela makes use of various lighting and shots to manipulate the limited space. From the carriage that is dedicated to the fictional anime character, Momomon to the tranquil first-class carriage that is more classic and upscale in design, the bullet train in Bullet Train feels much bigger and grander than what it is.

Bullet Train may have its flaws, but there’s no denying that it is a lot of fun to watch. With a star-studded cast and plenty of exciting action sequences, Bullet Train is a film that doesn’t take itself seriously and doesn’t want the audience to either. Brad Pitt is his usual charismatic self as the unlucky “Ladybug” and it’s clear that he is having a lot of fun in the role.

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

Bullet Train is out in UK cinemas now!

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Review

Ali & Ava (2021)

British cinema is at its best when it is able to truly capture the plight of the working class. Clio Barnard’s newest film, Ali & Ava, premiered at Cannes Film Festival in 2021 and has been well received by critics and audiences alike thanks to its universal story. The film is set in Bradford and follows the titular protagonists (Adeel Akhtar and Claire Rushbrook, respectively) as they meet, and their relationship develops. Both characters have received judgement and prejudice for different reasons as Ali faces racism while Ava lives in a poorer area of town. Together, the pair find that they share a lot in common such as a passion for music and this blossoms into a relationship that develops concern from the family and friends of both parties. On top of this, the film also explores emotional challenges as Ava has to overcome the trauma of her last relationship as her deceased husband was abusive. With Akhtar and Rushbrook bringing profound performances that perfectly capture the working class experience, Ali & Ava is an uplifting tale of love.

The film is written and directed by Clio Barnard, who has managed to bring forth the complexities that come with everyday life, by interweaving brilliant characters. The plot may seem pretty simple on the surface as the two protagonists meet and fall in love, facing plenty of prejudice from their friends and family, and learning how to thrive in the face of these protests. Barnard has done a flawless job of getting to the heart of her characters and really delving deep into their development and characterisation, so we are able to truly understand Ali and Ava’s decisions. The way that Barnard captures Bradford makes it feel as though it is based in its own universe and shows that there is more to people than originally perceived.

Adeel Akhtar is fantastic as local landlord, Ali as he provides a grounded performance that has so many layers. To say that he deserves his BAFTA nomination is an understatement, as it feels as though his performance – and the film overall – has been overlooked by awarding bodies outside the UK. Ali is a person who loves music and is always doing his best to please the people in his life. When he meets Ava, it is evident that this is the first time in a while when he is able to put himself first. Akhtar brings forth Ali’s passion for life as well as the complexities that come with it. It’s an intelligent performance that becomes more resonant as the film goes on. Akhtar’s chemistry with Rushbrook is undeniable and the two of them complement each other perfectly. The scene in which they are both listening to their music is extremely beautiful, as they are sharing the same experience through a different song, which is reflective of how their lives have crossed from travelling down different paths. Akhtar’s performance is nothing short of charismatic and magnetic, while also ensuring that there is sincerity in the character, even in the lighter moments.

Playing Ava is Claire Rushbrook who does a brilliant job of delving into the character’s complicated story. Ava’s path is very different from Ali’s as her struggles have come from inside the home. She is a working class mother who endured abuse from her husband for many years before his death. Not only does Ava have to put up with the racist opinions from those in her family, but she clearly struggles to let her guard down and open her heart to another man following her trauma. It’s a shame that Rushbrook isn’t receiving award recognition for her performance. While Akhtar’s fantastic performance is more extroverted, Rushbrook’s is more subtle in that her revelations and development occur later on in the film, while also showcasing the pressures that are put on her as a mother, a friend, and a teaching assistant.

The cinematography is provided by Ole Bratt Birkeland who does a brilliant job of showcasing the magic within Bradford and the many places it is home to. The characters live in the same city but come from different walks of life and this is captured in Birkeland’s cinematography as we venture into the lovely built-up areas near the centre where Ali lives that is known to have a large South Asian community, while contrasting this with the rural working class community on the city’s outskirts where Ava lives. Bradford works as a visual microcosm that has an abundance of different communities within it and Birkeland does a brilliant job of ensuring that the film doesn’t feel claustrophobic in terms of location. The way that Birkeland heavily focuses on characters during scenes of tension is fantastic as we are able to see every movement that the actors make. The scene in which Ava’s son, Callum (Shaun Thomas), confronts his mother and Ali at a local bonfire ventures into thriller territory thanks to the unpredictability and the sharp focus that Birkeland has on the characters.

Ali & Ava is a film that feels so timely and timeless at the same time. It is a film that doesn’t need bells and whistles in its production and is proof that having a wonderful visionary at the helm with stellar performances can draw out the magic and complexity from a plot that may seem simple at first. Akhtar and Rushbrook are a fantastic team and the way that they develop the characters and showcase the lows and highs of the relationship is nuanced and resonant. Barnard’s modern day Romeo and Juliet may not have the grandeur that is expected of such a love story, but Ali & Ava is a beautiful take on the human experience.

What did you think of Ali & Ava? Let me know in the comments below!

Ali & Ava is available to view in cinemas now!

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Review

Belfast (2021)

When it comes to award season, there are a few films that make their way into the majority of nomination fields and acquire a high number of Oscar nominations. Kenneth Branagh’s autobiographical drama, Belfast is one of those films this year and follows Branagh’s experience as a child in the titular city during the late 1960s when The Troubles began. The film focuses on protagonist, Buddy (Jude Hill), based on Branagh himself, and the period in his life when Protestant loyalists begin to target the homes and businesses of the Catholics on Buddy’s street. We see Buddy in all aspects of his life, but mostly the time that he spends with his Ma (Caitríona Balfe), Pa (Jamie Dornan), Granny (Judi Dench), and Pop (Ciarán Hinds) as the political turmoil in Ireland begins to grow increasingly dangerous and resulting in a potential move to England to escape. It’s a unique look at a tragic period of time through the eyes of a child, so we see The Troubles in glimpses and glances.

The film is both written and directed by Kenneth Branagh, and it is clear from the offset that this is his most personal project to date as we are introduced to a montage of present-day Belfast before we are transported to the same area in the past in black and white. The film is undoubtedly autobiographical, but Branagh chose to change names and even calls the protagonist, Buddy, who is based on himself. The screenplay is written from Buddy’s perspective as a young boy, meaning that the audience is provided with snippets of the real life chaos that was taking place. This serves to hinder and serve the film as on one hand, it provides a unique perspective on the topic while also meaning that we are not introduced to the full threats that were drawing closer and closer if the film had a more generalised viewpoint.

Despite the long list of stars in Belfast’s line-up, the cast is actually led by newcomer Jude Hill who plays protagonist, Buddy. It could be understandable for a newcomer, even more so a nine-year-old, to be intimidated by a slew of stars as well as Branagh, but Hill takes it all in his stride. From the moment he appears onscreen, it’s clear that the film is in safe hands as he is deeply entertaining while maintaining the innocence to the political conflict that is happening around him. The opening scene in which we see the Protestant militants attacking the Catholic homes on his street perfectly demonstrates the end of innocence as Buddy has to deal with the real-life problems that he and his family face, especially as his Pa is increasingly pressured to join the Protestants in their fight. Despite the problems going on around him, Buddy is just like any other child and has his interests, mainly his love for films and there are scenes dotted through the film of his trips to the cinema, which is clearly drawn from Branagh’s own love for cinema and Belfast is clearly a love letter to his childhood and the place that helped him to develop this passion.

There is an abundance of supporting characters in the film and one of the best performances goes to Caitríona Balfe who is magnificent as Buddy’s mother. There is a lot of unspoken characterisation to “Ma” and Balfe brings this forth perfectly. Buddy idolizes his father who works away for long periods of time while his mother has to run the household and raise Buddy and his brother, while simultaneously dealing with the political conflicts going on. There are glimpses of her struggles as Buddy listens in on her desperate calls to her husband while he is working, and we see her facade begin to crack as she has to remain strong for her boys. What makes Balfe’s performance so brilliant is how resonant and relatable it is and the fact that she has been snubbed in the Best Supporting Actress category at the Oscars is one of the biggest snubs, especially since Judi Dench’s performance doesn’t have the same level of impact.

When it comes to the supporting male actors, the best performance easily goes to Ciarán Hinds who portrays Buddy’s grandfather, “Pop”. His performance is the perfect example of a small role that has huge influence over the film and its storyline. From his first scene through to his health deterioration, Pop is the foundation of Buddy’s family and acts as Buddy’s father-in-lieu when his father is working away in England. Hinds is charming and lovable as Pop, serving as Buddy’s life coach when the latter is unsure how to approach a girl he likes in class while also providing plenty of wisdom during the turbulent times by helping Buddy to understand what is going on around him. Hinds’ final scene is by far the highlight of the film as this is when the story is brought to its emotional climax and the family foundation is broken and begins to fall apart, reflecting the surrounding society.

Belfast is sure to be a crowd-pleaser and shows a different side to Branagh’s creative output that we haven’t really seen from him before, while also giving him the chance to be vulnerable as a filmmaker. It may not always pack the punch that it wants to, but there are some really beautiful scenes and with Balfe and Hinds’ exceptional performances, Belfast is a film that definitely deserves a watch.

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

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The French Dispatch (2021)

2021 saw a slew of star-studded films and one of these was Wes Anderson’s newest feature, The French Dispatch. The film follows the team at the titular magazine and the fictional French town of Ennui-sur-Blasé where the team is located. The cast is led by Bill Murray who plays the magazine’s editor, Arthur Howitzer Jr, based on The New Yorker’s founder Harold Ross with a starry cast including regular Anderson collaborators such as Owen Wilson, Jason Schwartzman, Tilda Swinton, Adrien Brody, Frances McDormand, and Anjelica Huston, among many others. Unlike his other films, The French Dispatch is an anthology film and consists of a tour around Ennui-sur-Blasé followed by three stories from the magazine’s final issue and an obituary for Howitzer, who has passed away.

The film is written and directed by Wes Anderson and features all the weirdness and wackiness that you would expect from one of his films. The town of Ennui-sur-Blasé sits perfectly in Anderson’s cinematic universe, while Anderson plays with the structure of the film itself, structuring it like a visual magazine with a content’s page that gives an overall summary, some stories, and a final conclusion in its obituary. The French Dispatch may not have as strong a story like The Grand Budapest Hotel or as many memorable characters such as those in The Royal Tenenbaums, and this seems to have divided hardcore Anderson fans, but to see Anderson experiment with film structure and the way in which the magazine influences the actual film and vice versa makes it intriguing to watch.

The first segment of the film is called “The Concrete Masterpiece” and stars Benicio del Toro as incarcerated artist Moses Rosenthaler who delves into abstract art inspired by his muse, Simone (Léa Seydoux). When fellow prisoner and art dealer, Julien Cadazio (Adrien Brody) spots one of Rosenthaler’s works in the prison, he makes it his mission to ensure that the latter is the most famous artist in the world even though he remains in prison. This segment features the strongest characterisation as there are fewer leading characters meaning that there is more room for them to be explored. Seydoux is spectacular as Simone. When we first see her, she is completely naked as she poses for Rosenthaler, but the way in which she is portrayed is full of empowerment as her role as prison guard means that she has ultimate control over the situation. Leading this segment is del Toro, who has never worked with Anderson before but proves to be a natural fit within his vision, while Brody can always be relied upon to bring a strong performance.

The second chapter is titled “Revisions to a Manifesto”, which follows reporter Lucinda Krementz (Frances McDormand) as she records a student revolution in which the male students, led by Zeffirelli (Timothée Chalamet) demand access to the female dormitory. This segment is probably the weakest of the three in that the other two have stories that are more compelling. This isn’t to say that it is a bad portion, but when compared to the other two, it’s clear that it doesn’t have the same level of magic. McDormand is perfect as always as the cynical Krementz, who is dead set in her ways and refuses to conform despite efforts from those around her, while Chalamet is absolutely charming as the young Zeffirelli.

The third segment, “The Private Dining Room of the Police Commissioner”, is the best of the three sections and features the most captivating performance in the entire film thanks to Jeffrey Wright’s incredible performance as reporter Roebuck Wright, who is inspired by James Baldwin and A. J. Liebling. Roebuck is a character whose reporting incorporates food and this specific story recalls his private meal with the Commissaire (Mathieu Amalric) where the food is prepared by renowned chef/police officer, Nescaffier (Stephen Park). There are a lot of moving parts in this segment, so the other characters aren’t as well-developed, but Roebuck’s character and his own experiences as a homosexual in a foreign country are particularly poignant and provides a nuance to the film that grounds the wackiness going on.

The music is provided by none other than Oscar-winning composer, Alexandre Desplat, who won his first Oscar for his amazing work on Anderson’s The Grand Budapest Hotel. Desplat was originally slated to work on Guillermo del Toro’s latest film Nightmare Alley but chose to work on The French Dispatch in his fifth collaboration with Anderson and the score is incredible. The score is filled with classical French inspiration while the tracks alter in terms of tone and style to suit the stories that are being told. The track that plays while the shoot-out is taking place in the third segment is a particular highlight. On one hand, the score for The French Dispatch demonstrates Desplat’s affinity for capturing the world, and Anderson’s vision perfectly, but it is a shame that we didn’t get to hear his score for Nightmare Alley as it would have been incredible to see Desplat work with del Toro again and work with the noir and carnival aspects of the film.

The French Dispatch may not have the same level of magic as other Anderson features, but the way that he plays with the film’s structure allows it to stand out against other entries in his filmography. Relying on a slew of familiar faces that he has previously worked with, it’s great to see that the best performances came from those whom he hasn’t worked with before such as Jeffrey Wright and Benecio del Toro, who lead their segments with ease. Anderson proves yet again why he is one of the most creative minds that Hollywood has to offer thanks to his ability to create whimsy and mix it with deadpan comedy and points of drama, making a film that is filled with excellent balance.

What did you think of The French Dispatch. Let me know in the comments below!

The French Dispatch is now available to watch on Disney+!

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Julia Ducournau: Double Feature

Horror has seen s huge resurgence in recent years, especially when it comes to original ideas. Directors such as Ari Aster and Robert Eggers have helped propel horror into a new era. However, oftentimes, the female perspective is forgotten and just as there are many male horror directors, a number of women have come forward to craft their own visions such as Jennifer Kent’s debut The Babadook and Rose Glass’ debut Saint Maud. Another director who has made waves is French director Julia Ducournau who made her feature debut in 2016 with her coming-of-age horror, Raw, while her followup, Titane is even more brutal and explicit in its gore and walked away with the top prize, the Palme D’Or at the 2021 Cannes Film Festival.

The first thing you may hear when coming about Ducournau’s films for the first time is the controversy that surrounds them. Her films are not for the faint of heart and even hard-core horror fans have been known to flinch once or twice at some of the scenes. However, her approach to “body horror” is not gratuitous in the way that many male directors have done in years past as Ducournau gives power to her female protagonist rather than writing female characters that have been created to be tortured.

Raw (2018)

Ducournau’s feature debut, Raw, could initially be mistaken as a regular coming-of-age story as Justine (Garance Marillier) is about to start veterinary school. However, things take a deep dive into horror territory as lifelong vegetarian Justine discovers that she has a hunger for raw meat, especially human meat. Raw was met with much controversy on release as word spread that people fainted during the screening due to the explicit gore. It is a shocking film to watch and one that can cause upset due to the content, but Raw is an intricate commentary on the female experience and the pressures and expectations that society places on women.

Titane (2021)

Her second film, Titane, also made waves on release and follows serial killer, Alexia (Agathe Rousselle), who is impregnated by a car and subsequently begins to experience horrific bodily changes. When Alexia goes on a murderous rampage, she disguises herself as a missing boy and finds herself living eith the boy’s father, Vincent (Vincent Lindon), who also has his own fair share of bodily issues. Titane is unflinching and unapologetic in its approach to discussing gender and subverting traditional and stereotyped gender roles. You can read my full review for Titane here, but needless to say, it is a wild ride from start to finish.

What makes Ducournau such an exciting filmmaker is her fearless approach to filmmaking. Not only does this fearlessness relate to the subject matter or the scope of horror involved, but the way that she directs is truly innovative and unique. Ducournau’s ability to capture the essence of femininity and the horrors within are second to none and this makes her a force to be reckoned with. Since making her brutal debut with Raw, Ducournau has garnered a reputation for her unflinching perspective on the female gaze and gender, taking her place among the best horror directors while doing so.

Which Julia Ducournau film is your favourite? Let me know in the comments below!

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Licorice Pizza (2021)

One of the most critically acclaimed films to come out of 2021 is Paul Thomas Anderson’s newest release, Licorice Pizza. The film follows the unlikely meeting of teenager actor, Gary Valentine (Cooper Hoffman) and photographer assistant, Alana Kane (Alana Haim) and the subsequent turbulent relationship that develops between them. Although Gary and Alana have very different backgrounds, they both have passion and ambition to better themselves and it is this drive that they have that leads into their adventures and the events of the film. Anderson’s ability to create fully-rounded characters that have talents and flaws is what makes Licorice Pizza so captivating.

As expected of an Anderson film, Licorice Pizza is filled with well-written characters, a character-led storyline and is beautifully directed. However, Licorice Pizza has not been without controversy thanks to the age gap between the protagonists with Gary being 15 and Alana being 25, especially as their relationship begins to grow closer. The age gap does make Licorice Pizza uncomfortable to watch at times because Gary is underage. However, as with any Paul Thomas Anderson film, there is much more going on aside from the protagonists relationship. We see Gary and Alana’s separate personal lives and thr colourful characters that they encounter such as Jon Peters (Bradley Cooper) and a heartbreaking storyline with local politician, Joel Wachs (Benny Safdie). Anderson’s eclectic mix of real characters, characters based on real people and fictional creations helps to create a California that is true to his style and vision.

Alana Haim has proven herself to be one of the standout newcomers of 2021. She has already shown that she is an incredibly talented musician as she is a member of the band, Haim with her two sisters who play her sisters in the film as well. What makes Haim such a joy to watch is the charisma that she brings to the character. We don’t always understand Alana’s choices and may not agree with them, but there is something about Haim’s performance that keeps the audience watching. We feel the frustrations that Alana has as she deals with a bunch of kids that don’t have the same understanding of the world as she does, while simultaneously finding herself overwhelmed by the pressures from the older generation. Alana simply wants to find a place where she belongs and her journey leads her to Gary. She knows that embarking on a relationship with Gary is wrong due to his age, but she is constantly drawn back to him. Her attempts to reject her feelings fail as she finds herself in harm’s way while on a date with actor Jack Holden (Sean Penn) while differing religious beliefs get in the way of her blooming relationship with Lance (Skyler Gisondo).

To play the role of Gary, Anderson bestowed the task upon Cooper Hoffman, son of the late great Philip Seymour Hoffman. Marking his film debut, Hoffman proves that he has what it takes to not only lead a film, but to do so with the charisma and charm that feels resonant of his father’s work. Gary is a confident character and adamant that he knows what he wants. In the film’s opening scene, we see him meet Alana and tell her that she is the love of his life. Despite only being aged 15, Gary’s life is filled to the brim with adult responsibilities. He is an actor and businessman, running a waterbed business and a pinball arcade during the film’s timeline. It’s easy to forget that the character is only 15 due to the high levels of responsibility and common sense that he has. On the other hand, he is extremely naive and believes that the world revolves around him. Anderson’s decision to have both protagonists played by newcomers is incredibly smart as they bring that starry-eyed ambition to the roles that perhaps a veteran would not have been able to do.

Paul Thomas Anderson’s films are known to be filled to the brim with stars and although he has newcomers in the leading roles, he makes sure that he has an A-list cast in support. The highlight of the supporting cast is Bradley Cooper as Jon Peters in what is a deeply unsettling and neurotic performance that captures Peters’ unpredictability perfectly. From the moment he appears on the screen, the tone of the film instantly shifts as he is deeply threatening in delivery while masking his threats in comical analogies and metaphors. The entire storyline that involves Peters is the best sequence in the film and this is thanks in part to Cooper’s intense portrayal.

Jonny Greenwood returns for his fifth collaboration with Paul Thomas Anderson and as expected, it is fantastic. Unlike other Anderson films, Licorice Pizza is dominated by songs from the 1970s in its soundtrack and doesn’t utilise Greenwood’s score as much. When we do hear Greenwood’s tracks, he takes advantage of the romantic undertones of the story as the music is filled with the longing that the characters have for each other. 2021 has been a busy year for Greenwood as he has also composed the music for Spencer and The Power of the Dog and it’s amazing to hear how different each soundtrack is while managing to maintain his own identity throughout.

There are aspects of Licorice Pizza that feel uncomfortable at times, primarily the age gap between the protagonists and the way their relationship is portrayed. However, there is no denying that the film is beautifully shot and is filled with fantastic performances, especially from Alana Haim and Bradley Cooper. Licorice Pizza is a nostalgic nod to 1970s California and transports us to the world behind the scenes of Hollywood in a way that hasn’t been done before.

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

Licorice Pizza is out in cinemas now!