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The Holdovers (2023)

One of the most competitive films coming into awards season is The Holdovers. While a lot of awards talk has been surrounding Barbie and Oppenheimer, Alexander Payne’s modern fable is a Christmas classic in the making. The film follows disgruntled boarding school teacher, Paul Hunham (Paul Giamatti) who must stay at the school over the Christmas break. Stuck with a rebellious but brilliant student (Dominic Sessa) and a cook grieving her son who died in Vietnam (Da’Vine Joy Randolph), the film sees a friendship develop between these characters.

Directed by Alexander Payne from a script written by David Hemingson, The Holdovers is simple yet extraordinary. In true Payne style, we are immersed into the surroundings. The minimalism of snowy Boston and the regal halls of the boarding school give an immediate sense of space. Hemingson’s screenplay is a masterclass in writing. Providing plenty of characterisation for its three main characters, The Holdovers gives Giamatti in particular a lot to play with in a relatively short run time.

Paul Giamatti leads the film as miserable teacher, Paul Hunham. The role was written with Giamatti in mind and it’s easy to see why. Hunham’s arc from cynical disciplinarian to vulnerable rule-breaker is not a role that just anyone can play. Having previously been snubbed for his leading performance in Sideways (another Alexander Payne film no less), Giamatti has managed to craft an incredible career playing predominantly supporting characters. This even includes an Oscar nomination for his supporting turn in Cinderella Man. However, it is undoubtedly his magnificent turn in The Holdovers that will be his crowning glory in a truly stunning career.

The most exciting breakout this award season Da’Vine Joy Randolph as Mary Lamb. Her performance is quiet, subtle, and completely heartbreaking. Her presence can be felt in each scene like a raincloud looming that is waiting to burst. The party scene in which we see Mary breakdown over the loss of her son packs an emotional punch. If Giamatti is the soul of the film, then Randolph’s is definitely the heart. It’s incredible to see such a wonderful performance sweeping various major and critic awards.

Providing an exceptional film debut is Dominic Sessa as student, Angus Tully. It’s difficult to believe that this is Sessa’s first ever role. He fits into the role of Angus fantastically, working excellently against Giamatti. It’s evident that he is having fun in the role and the bickering scenes between him and Giamatti are hysterical to watch.

One of the most striking and underrated parts of The Holdovers is the cinematography by Eigil Bryld. Bryld’s understated approach allows the natural beauty of each location to shine through. The dimly lit corridors of the boarding school allow the antiquity and traditional mindset to come to life while the snowy weather is framed in a bleak way due to the baroness of the town.

The music by Mark Orton provides a tranquil backdrop to the film. Never faltering, the music blends with the snowy scenery and exacerbates the heartwarming emotions at the core of the film. Filled with 1970s sounds, Orton does a phenomenal job of capturing the characters’ essence in each track.

Overall, The Holdovers is a Christmas classic in the making. While it may not be family-friendly, this is a feel-good film that is filled with heart-warming characters and backed with an excellent script. This marks Giamatti’s career-best performance, a stunning breakthrough for Randolph and Sessa, and outstanding direction from Payne.

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

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Review

Barbie (2023)

One of the biggest cultural phenomena of 2023 was undoubtedly Greta Gerwig’s blockbuster hit, Barbie. Making up one half of Barbenheimer (Barbie and Oppenheimer), Barbie uses the iconic doll as a way to explore women, feminism, and the human condition as a whole. Starring Margot Robbie as the main Barbie, Ryan Gosling as the main Ken and a plethora of stars in support including American Ferrera and Will Ferrell, Barbie is a film for the ages.

Directed by Greta Gerwig and co-written by Gerwig and Noah Baumbach, Barbie is full of satire and isn’t afraid to poke fun at Barbie’s manufacturer, Mattel. Gerwig can simply do no wrong from the Powell and Pressburger-inspired set design to the bonkers musical number in the film’s climactic final act. Barbie is a film that feels timely in its messaging and themes and timeless thanks to its various nods and tributes to films past.

Margot Robbie is perfect casting as Barbie. Time and time again, she has subverted expectations, providing brilliantly layered performances. From her turn as Tonya Harding in I, Tonya to her starry-eyed performance as Sharon Tate in Once Upon a Time in Hollywood, Robbie isn’t afraid to try something different and new. The scene in which she encounters Ruth Handler (Rhea Perlman) near the end of the film sees Barbie spanning a plethora of emotions as she sees what it means to be human.

Ryan Gosling provides a hilarious and memorable performances that is one for the ages. Where Barbie is quickly objectified by society in the real world, Ken realises that a patriarchal society means he can take control of Barbieland with the other Kens. Gosling is on another level in this film. It’s clear he is having fun in the role and he isn’t afraid to truly go for it. The rivalry between Gosling’s Ken and Simu Liu’s Rival Ken is hysterical to watch as they vie for Margot’s Barbie’s attention.

Providing the film’s most iconic and pivotal moment is America Ferrera as Mattel employee, Gloria. Serving as Barbie’s way in to understanding how the real world works, Ferrera’s performance is grounded and reminiscent of what it’s like to be a 21st century woman. The monologue scene is delivered perfectly, encapsulating the frustrations of what society expects from women. Ferrera and Robbie play off each other excellently, finding the common ground between them.

The cinematography by Rodrigo Prieto is plastic and fantastic, making use of the Barbie aesthetic. The bright pinks and pastels bounce off the screen deliciously, contrasting greatly with the imperfections of the real world. Prieto has had an excellent year working on Barbie and Killers of the Flower Moon. His work on Barbie has helped make it one of the most visually recognisable films of the year.

The music by Mark Ronson and Andrew Wyatt plays on the fun, plastic world of Barbieland. It immediately immerses you and sucks you into the uplifting atmosphere. The soundtrack is filled with ecletic dance tracks from the likes of Dua Lipa and Charli XCX. However, the standout tracks are “I’m Just Ken” sang by Ryan Gosling and the emotional ballad “What Was I Made For?” by Billie Eilish. The latter is most likely to give Eilish and cowriter FINNEAS their second Oscars and it’s well-deserved.

Barbie is a delight from the opening tribute to Stanley Kubrick’s 2001: A Space Odyssey to the concluding one-liner. It’s a film that reveals more each watch. The dazzling visuals, top-notch acting, and impeccable script make Barbie one for the ages.

What did you think of Barbie? 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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Everybody’s Talking About Jamie (2021)

Everybody’s Talking About Jamie is the latest in a slew of musical adaptations heading for the big screen and makes it mark with a bang. Based on the true story about a 16 year old boy who aspires to dress in drag at his high school prom, Everybody’s Talking About Jamie is an upbeat film about identity, difference and acceptance. The stage musical has taken the world by storm and is a mainstay on the West End having been nominated for numerous Laurence Olivier Awards and won many awards from awarding bodies such as the WhatsOnStage Awards. When the film adaptation was revealed to be in the works, there was naturally a lot of excitement as it has very big shoes to fill and it does not disappointment. From the heartfelt performances to the crisp choreography, Everybody’s Talking About Jamie can be viewed as a necessary film in this time of uncertainty and social negativity.

The film is directed by Jonathan Butterell who directed the original stage production when it was developed in Sheffield and based on a script by Tom MacRae, who wrote the book and lyrics for the musical which means that we are in reliable hands. There are certain changes that have had to be made but are necessary to help the story translate well on the screen. Equally, they have taken advantage of the fact that it is a film and allow themselves to push themselves cinematically to create a world in which the audience can truly be immersed and connected to the characters. Recruiting Butterell and MacRae as director and writer, respectively, allows the film to stay true to its roots and helps push the authenticity of the narrative and the community.

Leading the film is newcomer Max Harwood who does a stellar job as Jamie. He fits naturally into the role and truly captures every side to the character from his desire to perform in drag to the reality he has as an openly gay teen in a small community where he is bullied and encouraged to hide that side of himself. What makes Jamie such a fantastic character is that he is flawed which makes him more relatable and Harwood portrays him with no filter so we are able to see every side while still remaining likeable. With this film marking Harwood’s big breakthrough, it’s a great foreshadowing of what is to come in what is guaranteed to be a flourishing career. There has been a lot of debates about adults playing teenagers but although he is 24, Harwood does look appropriate and plays the role well with the maturity required so it isn’t distracting in the way that other films can be.

Playing Jamie’s mum, Margaret is Sarah Lancashire who can always be relied upon to bring a fantastic performance. Known primarily for her stellar work on TV, Lancashire is a great choice as she brings that authenticity to the role and has great chemistry with Harwood which makes their relationship seem completely believable. What is great about Everybody’s Talking About Jamie is that the majority of the supporting cast is made up of established working class actors which is incredibly important when it comes to onscreen representation, especially when it comes to British cinema.

As with any cinematic adaptation of a musical, there always has to be at least one A-lister among the cast and in this case we have Richard E. Grant as Jamie’s mentor, Hugo who also performs in drag under the persona Loco Chanelle. Grant is a fantastic actor and has shown throughout his career that he is capable of turning a great performance in any kind of film. Coming off the back of his Oscar-nominated turn in Marielle Heller’s Can You Ever Forgive Me?, Grant brings this character to life in a way where we really feel the struggles that Hugo has faced as an older gay man who lived through the AIDs epidemic. As one of the most versatile British actors working today, Grant was definitely the perfect choice for this role and no doubt should be thought about for awards consideration.

The way that the musical numbers are integrated into this film is incredibly important and Everybody’s Talking About Jamie does a great job of not just replicating the stage musical to the screen. From having some of the songs in the background to incorporating tracks from the conceptual album, the music feels different than the stage and this makes it great and feel more confident in itself as a film. With a wide range of songs on the soundtrack, some of the highlights include “Don’t Even Know It” in which we see Jamie’s dream as a drag queen and introduced to this side of him as well as Lancashire’s heart-breaking performance of “He’s My Boy” in which she laments the struggles and rejection Jamie faces from his father. The film’s ability to shift emotionally is portrayed perfectly through the music without feeling stagey or unnatural.

Overall, Everybody’s Talking About Jamie is a fantastic adaptation that makes the appropriate changes so it works well onscreen and allows the audience to get to know the characters. With perfect casting and great performances from the leading and supporting cast, this film is incredibly enjoyable and an ideal choice for those wanting a new and exciting film that leaves you feeling upbeat.

What did you think of Everybody’s Talking About Jamie? Let me know in the comments below!

Everybody’s Talking About Jamie is available to watch on Amazon Prime now!

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Palm Springs (2020)

Palm Springs has finally landed on Amazon Prime in the UK and it was definitely worth the wait. A modern take on time loops, this film follows carefree Nyles (Andy Samberg) and troubled Sarah (Cristin Milloti) as they find themselves living the same day again and again and again. As Nyles has become used to the time loop life and enjoys it, Sarah is adamant to get out as soon as she can. Naturally, the two begin to bond due to their circumstance and a relationship blossoms. It’s a film that has garnered a lot of praise since its premiere and deservedly so. Directed by Max Barbakow from a script written by Barbakow and Andy Siara, Palm Springs is guaranteed to have you in stitches and in tears as we see how living the same day over and over can actually offer a different perspective on life.

The direction and nonlinear structure makes it different from your average Groundhog Day situation. The topic is actually quite dark as the protagonists cannot escape but Barbakow contrasts this with the idyllic setting of the Palm Springs desert. The nonlinear structure works perfectly with the plot and Barbakow isn’t afraid to let the audience piece everything together rather than spoonfeeding the plot bit by bit. Rather than leading the audience into the time loop, we’re already thrown in there immediately which makes it feel like a puzzle that we have to put together ourselves. It is this unpredictable nature that makes Palm Springs an entertaining watch as we really don’t know what the characters are going to do next even though we know what their day would be like.

Andy Samberg can always be relied upon to turn wonderful comedic performances and his turn as Nyles is no exception. Although Palm Springs is primarily a comedy, there are some brilliant dramatic moments in there as well, especially when Nyles has to decide whether he wants to stay in the time loop or attempt to get back to reality. Samberg’s carefree character quickly becomes affected by his growing relationship with Sarah as she finds herself stuck in the same loop. It is during these moments of inner turmoil that we really see how Nyles’ carefree persona is really just bravado as he has become complacent in this life. Samberg is well known for his comedic roles, mainly as Detective Jake Peralta on Brooklyn Nine-Nine, however, this film marks a small step in drama at times and it would be interesting to see him take on more dramatic roles in the future.

Cristin Milloti has been building an interesting career to date spanning TV (How I Met Your Mother), theatre (Once) and film (The Wolf of Wall Street) but with Palm Springs she gets the leading role she needs to properly breakout. Milloti is absolutely wonderful as Sarah and showcases the character’s conflicted feelings perfectly throughout the film. The chemistry she has with Samberg is great and they work really well on building the jokes and making the film an enjoyable experience. We never feel that Sarah has to rely on Nyles to be saved, she looks to herself for the solution and proves to be more practical and reliable than Nyles is. This is because we are actually seeing the film through her eyes as we are introduced to the time loop through Sarah’s eyes.

JK Simmons is phenomenal as Roy, a man who Nyles accidentally introduced to the time loop life when the two were inebriated with alcohol and drugs. Set on hellbent revenge, he appears every so often to torture and kill Nyles knowing that the two of them will spawn again the next day. It’s great seeing Simmons take on interesting roles that allow him to become immersed in a character. After winning his Oscar, it would have been easy for him to take on leading man roles in blockbusters but Simmons has carried on doing the roles he is clearly passionate about and it really adds in excitement to the overall film as we anticipate his return in the film.

The soundtrack is one of the best parts of this film. With an eclectic mix of genres from a variety of decades including a brilliant use of Kate Bush’s “Cloudbusting” which is used in the film’s climactic scene, the random quality of the soundtrack helps brings the absurdity of the film’s plot. A lot of period films incorporate music from their respective time period to help the audience get a feel for the sounds of the time, however, Palm Springs completely rejects this and refuses to allow its music choices to conform to this. We are not supposed to get a feel for its time and it is wonderfully unpredictable with tunes from Leonard Cohen and David Bowie.

Palm Springs proves to be an incredibly original take on a subject that has been done lots of times before. Despite the time loop making the repeated day a predicted experience, it is actually the film’s unpredictability that makes it exciting to watch. From the beautiful cinematography to the brilliant script, Palm Springs may only be an hour and a half but it makes the most out of every second and never puts a foot wrong.

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

Palm Springs is available to watch on Amazon Prime UK now!

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I Care a Lot (2020)

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

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

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

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

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

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

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

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

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The United States vs. Billie Holiday (2021)

The United States vs. Billie Holiday has produced one of the biggest surprises to come out of this year’s Golden Globes. Andra Day proved victorious in the Lead Actress in a Drama category as she beat out favourites Frances McDormand and Carey Mulligan to receive the prize for her turn as legendary jazz singer, Billie Holiday. Chronicling Billie’s life leading up to, during and after her controversial prison time, The United States vs. Billie Holiday does have its flaws but it features brilliant performances from Day and the rest of the cast. Directed by Lee Daniels from a script written by Pulitzer-prize winning playwright Suzan-Lori Parks, The United States vs. Billie Holiday has found a star in Andra Day.

The film does take a while to find its natural pace but once it does, it is enjoyable to watch. The first half of the film feels rushed, flitting quickly from one event to the other unexpectedly without really letting the characters breathe. I think that because Parks has a lot more experience in writing plays, this technique would work much better on stage than on screen but the second half brings some brilliant characterisation. Daniels’ direction also shines in the second half as we see Holiday’s rebellion and unapologetic attitude take hold and her descent into drug and alcohol abuse.

It goes without saying that Andra Day is heart and soul of the film. Without her fantastic performance this film would not have the power and attention it currently does have. What makes Day’s performance so captivating is that she doesn’t try to be Holiday through mimicking but really delves deep into Holiday’s layered personality. On the surface, she is a hugely successful singer who is loved all over the country but inside she is riddled with addiction combined with bouts of domestic violence and run-ins with the law. With biopics being a mainstay on the awards circuit in recent years, it is refreshing to see a performance that isn’t just an imitation and not much more. Although the film around her has its flaws, Day elevates the whole viewing experience and makes it both rewarding and positive overall.

In support, Trevante Rhodes is great as federal agent Jimmy Fletcher. Having previously had his own breakout role in the Oscar winning masterpiece Moonlight as adult Chiron, Rhodes sees a change of pace here as a conflicted federal agent who plays a huge part in Holiday’s imprisonment. Thinking that being an agent was going to make the world better for African-Americans, he soon realises the corruption that lies in the higher ranks ran by the white elite who are against the civil rights movement. Although Rhodes isn’t in the film a lot, he gives the audience that outsider perspective as he follows Holiday and her entourage on tour.

The film really hits its stride in the second half as Holiday embarks on her tour followed by Fletcher. One scene that is a highlight in particular is when Fletcher is high on heroin and Holiday tells him about her troubled upbringing. The way it is staged as Fletcher sits and views a young Holiday being kicked out by her mother. The structure of the scene prevents the film from simply being a linear scene by scene recreation of Billie’s life. In terms of the direction, the film feels like it is split into two films with the first half being less adventurous and following a move traditional and expected structure and the second half diving into a more experimental and unpredictable approach. This could coincide with Holiday’s descent into addiction and her life spiralling out of control but I think the film as a whole would have benefitted hugely if the approach was more consistent throughout. If Daniels had directed the first half of the film like the second, the discussion around the quality of the film overall would be hugely different.

Although The United States vs. Billie Holiday may not be the strongest film in contention this awards season, it is definitely worth the watch purely for its great final act and Andra Day’s breakthrough performance. I expect to see Day recognised further with an Academy Award nomination at least and it’s exciting what the future holds for her if she decides to pursue a career in film.

What did you think of The United States vs. Billie Holiday? Let us know in the comments below!

The United States vs. Billie Holiday is available on Sky Cinema now!

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The White Tiger (2021)

Ramin Bahrani’s latest feature premiered on Netflix to international acclaim. The White Tiger tells the story of one man’s ascendancy to success from his humble beginnings. Based on Aravind Adiga’s 2008 novel of the same name with the script written by Bahrani, The White Tiger is an intricate character study that shows the contrast between two worlds and how the two collide. Set against a backdrop where those from poorer backgrounds are led to believe they can achieve greatness without actually receiving the appropriate funds to do so, Balram uses his intuition and determination to rise above his station by getting himself hired as a driver for an extremely wealthy and influential family.

Bahrani’s direction is stunning and perfectly captures the conflict between the two worlds that Balram is exposed to. As Balram becomes accustomed to the way the rich live, he begins to see the corruption that helps to keep them at the top and how this seeps into the government as well. Through his writing, Bahrani forces the audience to read between the lines and look at Balram’s experience as the experience of India on the whole. Even the enveloping narrative structure of the film where Balram recalls his life through an email to the Chinese Premier in itself is an act of the protagonist’s aim of furthering himself both financially and economically.

Adarsh Gourav’s performance as protagonist, Balram, is captivating and hugely impressive for his first leading performance. With the weight of the film resting firmly on his shoulders, Gourav brings Balram to life perfectly combining his determination and ruthlessness to deliver a performance that is truly magnetic. Acting among huge Indian stars, Gourav holds his own and establishes himself as a star in the making. As Balram delves deeper into the world of the rich, his sanity and stability start to become compromised and Gourav really excels during the second half of the film as this happens. It’ll be excited to see where Gourav’s career takes him, especially considering how well he has done in his first leading role. The White Tiger has secured his position as one to watch.

In support we have Rajkummar Rao and Priyanka Chopra Jonas as Balram’s boss, Ashok and Ashok’s wife, Pinky. Ashok is such a fascinating and layered character as he has returned from America and is more liberal and lenient in his approach towards the people who work for him and his family, quickly striking up a friendship with Balram. However, when it comes to mistreatment, he stays quiet as he is indoctrinated by the traditions set out for him. His wife Pinky, Indian born and raised in America is perplexed and disgusted by the mistreatment of Balram at the hands of Ashok’s brother and father. Unapologetically outspoken, Pinky is like Balram as she is an outcast as well and refuses to fulfil the silent, obeying wife that is expected of her. Both Rao and Chopra Jonas are perfectly cast in their roles bringing a sense of unpredictability and fun to the film, especially during middle portion as their relationship with Balram grows.

Overall, The White Tiger is a gripping film filled with unpredictability and keeps your attention thanks to its brilliant character and beautiful aesthetic. With a stellar cast and stunning direction, this is a fantastic film that should be praised for its incredible script and flawless cinematography. This drama is sure to have you gripped from the first scene as the film descends into the chaotic events without feeling clunky or out of place. It’s been left out of the Golden Globe nominations but it would be great to see this film receive Academy Award recognition for its script and cinematography which is where this film really shines.

What did you think of The White Tiger? Let me know in the comments below!

The White Tiger is available to watch on Netflix now!

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The Queen’s Gambit

The show that everyone has been talking about at the minute is a series that revolves around chess. The Queen’s Gambit follows female chess player, Beth Harmon, and her quest to become the world’s best chess player period. The show was created by Scott Frank and Allan Scott and based on the 1983 novel of the same name by Walter Tevis. A lot of people have commented that the show has made a boring subject amazing but I beg to differ. I think it’s a brilliant show enhanced by an interesting and unexpected topic. As someone who used to play chess when they were little, it is an understatement to say that the competitions were very much male-dominated and there was more anticipation for the male categories than the females. Beth is subject to much belittlement and astonishment from her male peers. Even when at the top of her game, she is looked down upon by the grandmasters and champions.

To assume that the show is just about chess is to undermine it completely. Beneath the surface, we encounter themes of gender inequality, gender roles, alcoholism, drug addiction and loss among many more. In a way, all of these issues are brought to the light through chess and specifically Beth’s journey in the game. From the very beginning, Beth is an outsider as she doesn’t enjoy the same activities to her counterparts. The moment she sees the orphanage custodian, Mr Shaibel (Bill Camp), playing chess in the basement, she is curious and eager to learn. This curiosity then turns into an obsession fueled by tranquilliser drugs the orphanage controversially gives its pupils. Beth becomes a product of a traumatic childhood and her inability to lose gracefully and overanalyse hinders her at important moments in her career. Because of her reluctance to conform to societal ideals, she is often reclusive and isolated but all the more determined to climb her way to the top. The shows structure does a great job at presenting her challenges and obstacles.

Anya Taylor-Joy’s performance as Beth is nothing short of revolutionary. She is so captivating that every expression and word leaves the audience waiting with anticipation. Beth is one of the most complex female characters that TV has seen in a while. Academically brilliant and naturally talented at chess, she also struggles with drug and drink addiction as well as an unhealthy obsession with the game. Chronicling her life from her time in an orphanage after her mother’s tragic suicide to her adulthood in which she travels the world playing grandmasters in a bid to become one herself, The Queen’s Gambit is the most exciting and riveting TV show to air this year. From a curious novice to a strategic professional, Beth’s story is one of aspiration and tragedy as her career’s incline also results in an inner downwards spiral. Despite her flaws, the audience still roots for Beth and that’s mainly due to Taylor-Joy’s ability to really dig deep in her characterisation.

In support, Marielle Heller does a stunning performance as Beth’s adoptive mother, Alma Wheatley. Alma is a sickly woman who quickly gages onto Beth’s potential as a chess prodigy and assists her in her first bout of tournaments. I am very familiar with Heller’s work as a director (you can read my previous post on her films here) but haven’t encountered her in an acting role before. An important character in the first half of the series, Alma is just as flawed as her daughter. Leaving Beth to her own devices most of the time as she succumbs to frequent sickness and alcoholism, Alma is both a friend and mother, although the latter comes later as Beth begins to succeed in professional chess. Watching the intense moments between Beth and Alma makes for some of the highlights in the show as well as Alma’s ability to bring out the more human side of Beth.

In a year full of unfortunate events piled on more unfortunate events, The Queen’s Gambit is the show we all need for a good dose of quality television. I predict that Taylor-Joy will be the one to beat at the Golden Globes and hopefully will even receive Emma recognition as well. The fact that it has received overwhelming praise from female chess players, including grandmaster Jennifer Shahade, is only proof of the impeccable details and emotion that has been poured into every second. Without a doubt, The Queen’s Gambit is my favourite new show of the year and I don’t think it will be beaten.

The Queen’s Gambit is available to watch on Netflix and I strongly recommend you catch it if you haven’t seen it yet.