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Beast (2022)

One blockbuster to be released this year is Beast. The film follows Nate (Idris Elba), a doctor who takes his daughters, Meredith (Iyana Halley) and Norah (Leah Sava Jeffries) to South Africa, where his late wife grew up. Things soon take a turn for the worst when they arrive at a small village to find that everyone has been slain. The cause of this turns out to be a lion that has lost its pride at the hands of poachers and seeks out revenge on all humans. Nate has to fight against the lion to get him, his daughters and his friend, Martin (Sharlto Copley) to safety.

The film is directed by Baltasar Kormákur and written by Ryan Engle. Beast is a film that has a lot to say regarding the treatment of animals and the poaching industry. However, it doesn’t seem to lean into these discussions as much as it could do and relies on creature feature tropes. Choosing the South African reserve is an excellent choice as it provides a lot of beautiful scenery. However, it feels as though more could be done to show the tensions rising between Nate’s friend, Martin (Sharlto Copley) and the local poachers in the area. Instead, we are given small glimpses. The same can be said for the backstory regarding Nate’s late wife. There is a lot of dialogue regarding the grief that Nate and his daughters feel in relation to the loss, but this isn’t shown as much as it could have been. This being said, Beast is a lot of fun to watch and is perfect for those who want to dive into a good old creature feature.

Idris Elba leads the film as Nate, a man trying to reconnect with his daughters following the death of his wife. The tension between Nate and his daughters is evident, especially the fractured relationship with his oldest daughter, Meredith. Compared to other characters in the film, it doesn’t feel as though much development is given to the character. The film seems to be focused more on how the daughters handle the grief of losing their mum compared to Nate. In the end, it just feels as though any potential development for Nate is dashed as the lion ends up surviving all sorts of situations and just seems hellbent on killing him.

Sharlto Copley plays Nate’s friend, Martin, a South African who grew up with Nate’s wife. Copley’s performance is the most intriguing of the film as there is clearly a lot more to his character than meets the eye. Martin has a wall of photography taken by and featuring Nate’s wife. The closeness between Martin and Nate’s wife is evident and whether or not there was an element of unrequited love, it’s clear that the bond between them was strong. It is also hinted at throughout the film that Martin is an anti-poacher, someone who kills poacher to protect the reserve and the animals. The scenes in which this topic is discussed, including Nate’s confrontation with a group of poachers are among the best in the film and it would have been great if the writing delved into this more. Copley provides the film’s standout performance as there seems to be a lot of unexplained backstory that makes the development and actions interesting to watch.

Iyana Halley and Leah Sava Jeffries are both great as Meredith and Norah, respectively. They have a great rapport with each other with Meredith being quieter and more openly grief-stricken whereas Norah is extremely confident and is eager for the adventure, albeit without any signal or WiFi. Again, the writing doesn’t provide a lot in terms of characterisation and growth, but Halley and Jeffries both make do with what they have, bouncing off one another brilliantly.

The cinematography by Philippe Rousselot takes advantage of the South African scenery. The way in which Rousselot captures the film feels as though there are long and relentless takes, especially during the scenes of conflict. We are immediately thrown into the conflict between man and nature from the opening scene. The constant movement and relentlessness of the camerawork makes the audience feel immersed in the experience which could be overwhelming at times. However, scenes such as the confrontation with the poachers are shot brilliantly as the darkness means we are restricted from seeing every person, meaning that the unexpected could occur.

The music by Steven Price is among the highlights of the film. The soundtrack helps to build up the tension in the film and at times feeds into the relentless of the cinematography. The titular track highlights the chase aspect of the film with the crescendo building throughout. The atmospheric “The Fire Is Still Hot” is quieter and provides an element of mystery as Martin and Nate try to figure out what has happened to the villagers when no one is there.

Beast is a film that touches on some interesting topics such as poaching and grief, but it does not delve into these as much as it could have. However, it is still fun to watch and provides good performances from its cast, especially Sharlto Copley as Martin. For those wanting to watch a simple creature feature that has a gorgeous backdrop, Beast is a great choice for you.

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

Beast is out in cinemas now!

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Review

Not Okay (2022)

One film that has gained a lot of attention on social media is Not Okay. The film follows Danni Sanders (Zoey Deutch), an aspiring writer currently working as a photo editor for an online magazine. Despite her extreme privilege, Danni is unsatisfied with life and pretends that she has been accepted on a writing retreat in Paris. Using her photo editing skills, Danni posts pictures on social media but this comes back to haunt her as she finds herself in a web of lies when a terrorist attack happens at the Arc de Triomphe where she had posted as her location at the time of the attack. Pretending that she is a survivor of the attack, Danni finds the fame and recognition she wanted whilst also befriending people from a local trauma support group such as Rowan (Mia Isaac). However, the more famous she becomes, the more twisted the lies become.

Written and directed by Quinn Shephard, Not Okay is hilariously self-aware from the opening shot. The film begins with a warning card that includes “unlikeable female protagonist”, apparently a clapback at some negative feedback from initial screenings. It’s clear from watching the film that Danni is not meant to be a “likeable” character as she radiates entitlement. However, what Shephard’s script does is peel away at Danni’s character until we see her eventual breakthrough. As Danni’s friendship with Rowan grows, the former starts to realise the gravity of the situation she’s in and begins to act more human despite the lies. This being said, Shephard isn’t interested in justifying or understanding Danni’s behaviour with the film being an exploration of privelege and identity. Danni is so eager to gain recognition on social media and is clearly willing to do whatever it takes to achieve this instead of coming clean in the first place.

Zoey Deutch stars as protagonist Danni Sanders, a young woman who comes from a privileged background and feels that deserves more. From her opening scenes in which she patronises her LGBTQIA+ coworkers and ignores her photo editing colleague, it is clear that Danni is an inherently selfish and self-absorbed person. Like a lot of people, she lives her life on social media and craves a wider recognition. When she pretends to visit Paris on a writing retreat, she begins to grow in popularity but she cements her influencer status when she lies about surviving a terrorist attack and speaks of her “experience”. Deutch’s performance perfectly mixes the entitlement and the character’s sincere struggle for recognition. There is a level of self-awareness in Deutch’s performance that works brilliantly as the dark humour takes the weight from some of the heavier subjects discussed in the film.

Mia Isaac is one of this year’s breakthroughs as Rowan Aldren. Rowan is a brave and resilient young woman who is part of a trauma support group after she witnessed a school shooting. Using her story, Rowan has since become an activist fighting against gun use and has a strong social media following thanks to her passionate speeches and spoken word. Isaac’s performance is nothing short of fantastic, channelling Rowan’s trauma which makes the eventual realisation of Danni’s lies absolutely devastating. The scenes in which Rowan performs her spoken word poetry are captivating and you can feel Isaac emphasising each and every word as though her life depends on it.

In a small but hilarious role is Dylan O’Brien as influencer, Colin. Colin dismisses Danni, despite her clear efforts to get him to notice her, but soon becomes interested once she garners fame. O’Brien’s performance feels similar to James Franco’s turn as Alien in Harmony Korine’s Spring Breakers in that both characters are clearly taking on a stoner bravado. O’Brien is not in the film a lot and Colin doesn’t contribute a lot to the film’s overall plot, except to showcase how shallow influencer-culture can be. However, O’Brien is clearly having a lot of fun in the role and shows him in a more comical role that he hasn’t shown before.

One of the highlights in the film is the music by Pierre-Philippe Côté. The original tracks are short and sweet with a cappella sounds that are snappy. Côté’s score being so short and quick reflects social media’s tendency to focus on one topic or subject intensely for a brief amount of time before swiftly moving onto another without looking back. The music itself sounds cheery and upbeat for the most part, contrasting greatly with the darker subject matter.

Not Okay is a pleasantly surprising film. It is completely aware of its “unlikeable female protagonist” and doesn’t try to understand or justify her actions. Deutch and Isaac’s performances are excellent with the latter providing a brilliant breakthrough with such range and talent. Not Okay may not be a perfect film, but it manages to grapple with surface topics such as identity and social relevancy whilst also delving into more political territory such as gun control.

What did you think of Not Okay? Let me know in the comments below!

Not Okay is available to watch on Disney+ now!

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Review

Nope (2022)

Out of all the films to be released this year, Nope was one that was filled with anticipation. Jordan Peele has established himself as a master of modern horror with his previous films Get Out and Us. Nope sees Peele stick with the horror genre but deals with a new subgenre – aliens. The film follows the Haywood siblings, OJ (Daniel Kaluuya) and Emerald (Keke Palmer) who are running the family ranch following the mysterious death of their father, Otis (Keith David). When the horses begin to act weird and disappear, OJ realises that there may be something extraterrestrial occurring. Along with tech-wiz, Angel (Brandon Perea) and cinematographer, Antlers Holst (Michael Wincott), the Haywoods must find a way to track down and film footage of the UFO to get money.

Written and directed by Jordan Peele, Nope is another excellent addition to one of the most exciting horror filmographies of modern times. The writing is brilliant as always as Peele includes little details that help weave various plots together to show a connection throughout the film. Nope seems to be an exploration of the spectacle and how humans are obsessed with documenting and recording everything that happens. For example, Steven Yeun plays Ricky “Jupe” Park, a small theme park owner who was a child star in his youth. During his tenure as a child actor, we see an incident in which a chimp loses control on set after a balloon pops and the affect that this has on Jupe is evident in his adulthood. However, he still cannot help but look back on his traumatic childhood with fondness. This inner conflict is what drives Nope and ironically, the audience too becomes invested in the spectacle.

Collaborating with Peele again is Daniel Kaluuya who plays as Otis Jr. “OJ” Haywood. OJ is quiet and reserved, desperate to save his father’s business from closure. However, OJ’s understanding of dealing with and taming horses all his life has unexpectedly equipped him with the skills needed to handle the UFO. OJ may not have the same level of depth or characterisation as Chris in Get Out, but the chemistry he has with Em is fantastic. There are some great moments of humour from Kaluuya as well which he manages to convey even through OJ’S quietness.

Keke Palmer stars as OJ’s younger sister, Emerald “Em” Haywood. She is loud and vibrant which is extremely noticeable when she is onscreen with OJ. The first scene we see Em in when she gives a safety talk onset is fantastic and hilarious as she oversells Haywood’s services while also trying to get hired as an actress herself. While OJ seems to be the voice of reason with a level-headed approach, Em is more hot-headed and acts spontaneously without thinking ahead of the consequences. The climactic scene in which Palmer attempts to capture footage of the UFO is a testament to her ability to switch between comedy and drama instantly.

In support, Steven Yeun as Ricky “Jupe” Park in a role that may be small but is deeply complex. Jupe’s experiences as a child actor in fictional sitcom Gordy’s Home are interwoven into the film, displaying this thread of trauma that has followed him into adulthood. Even as an adult, Jupe collects memorabilia of Gordy’s Home and charges people thousands of dollars to look at his collection. He speaks of the past fondly, but we see a different tale of events, showing the contrast between what we are seeing and what we are being told. In this respect, Jupe’s retelling of his past could be a way of him trying to work through what happened as well as the obsession that people have with spectacles and the unexpected. Jupe is one of the best characters that Peele has crafted because of how nuanced every line and action in. The scene following the flashback in which we see Jupe deep in thought before quickly reverting back to a smile and cheery persona.

As with each Peele film, the music by Michael Abels remains a highlight. Abels draws on classic Western sounds and whimsical tracks to create a score that feels as though the film takes place in another universe. The track “Jupiter’s Claim” feels reminiscent of music that would be played in a real theme park and transports the audience into a world far from the glamour of Hollywood. On the other hand, tracks like “It’s In The Cloud” draws on traditional horror tropes such as fast strings and crescendo to increase the tension in the scene. In many respects, Abel’s music has become an integral component of Peele’s films thanks to his ability to adapt to the different subgenres beautifully.

Nope boasts a much bigger budget than Get Out and Us and it is easy to see why. Given the film’s alien-themed plot, it was clear that this film was going to utilise cinematography on a much larger scale. For a big blockbuster, it makes sense that Peele entrusted frequent Nolan collaborator Hoyte van Hoytema as cinematographer. Having worked on huge films such as Interstellar and Dunkirk, van Hoytema is the perfect choice as his work is larger than life, making use of vast space without it looking empty or boring. The scenes in which the characters lay a trap for the UFO makes use of the natural land while combining it with technology so they can capture the footage. On the other hand, van Hoytema also incorporates deeply claustrophobic work through the shots inside the UFO in which we see people trapped in a vertical line upon one another, awaiting their fate. The intriguing design and set up of the shot contrasts greatly with the open space that we had become acquainted with throughout the film. This is then followed by a scene that feels reminiscent of a classic horror film in which the UFO disposes of all the remains and belongings on top of the Haywood’s house. Van Hoytema’s previous work has predominantly consisted of action films but in Nope, he executes the horror elements brilliantly.

Like Get Out and Us before it, Nope sees Peele subverting horror tropes with a beautifully woven and detailed script and excellent performances all around. It feels much grander and larger in terms of scale and it’s great to see Peele expanding in terms of his storytelling and visuals. Nope is not only a story about alien invasion, but a look into mankind’s obsession with the spectacle and how we deal with trauma.

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

Nope is out in UK cinemas now!

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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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The Unbearable Weight of Massive Talent (2022)

The Unbearable Weight of Massive Talent is one of the most meta comedies to be released this year. The film serves as a tribute to the filmography and persona of iconic actor, Nicolas Cage. Over the years, Cage has garnered a reputation for his unique acting style that has often been parodied and discussed and The Unbearable Weight of Massive Talent is a perfect response from the man himself. The film follows Cage playing a fictionalised version of himself who is offered $1 million to travel to Spain and attend billionaire Javi Gutierrez’s birthday party. Struggling to revitalise his career and maintain a relationship with his daughter, Cage soon finds himself in the middle of a major operation as CIA agents Vivian (Tiffany Haddish) and Martin (Ike Barinholtz) rely on Cage for intelligence.

Directed by Tom Gormican who cowrote the screenplay with Kevin Etten, The Unbearable Weight of Massive Talent leans into everything we love about Nicolas Cage, even going as far as to include a version of Cage named “Nicky” that torments him about the direction his life has taken. The film acts as a retrospective of Cage’s vast filmography while also allowing Cage to showcase his talent thanks to the range that the role demands. The script may not be the most complex, but it doesn’t need to be as this film is all about the actor and his performance while also giving Pedro Pascal an opportunity to show that he is incredibly funny.

Nicolas Cage plays a fictionalised version of himself while also playing a hallucination that parodies an appearance Cage made on TV in the 1990s. His performance is quintessential Cage, bringing his signature charisma with a brilliant level of self-awareness, showcasing his passion for acting. What is fantastic about Cage’s performance is that it feels genuine and sincere in execution with plenty of nods and tributes to his extensive filmography. There are plenty of parodies and memes online surrounding Nicolas Cage and his performances, but it is often forgotten that the man is actually a brilliant actor and thay the charisma feeds into each of his performances, especially his action films of the 90s. Cage’s performance in The Unbearable Weight of Massive Talent gives him the platform to show just how good an actor he is while equally feeding into the frenzy that surrounds him in popular culture.

In support, we have Pedro Pascal who plays billionaire Javi Gutierrez. Pascal has proven his dramatic skills, especially on TV with his performance in Game of Thrones still remaining a fan favourite even though he wasn’t in a lot of episodes. However, in The Unbearable Weight of Massive Talent, Pascal shows that he is more than capable of pulling of a comical performance. Unpredictable and intense, Pascal feeds off Cage’s eccentric energy and the two make a great pair to watch throughout. What makes Pascal the perfect choice for the role is how likeable he is while also providing an intensity that works brilliantly against Cage’s eccentricity. It’s clear that Pascal is having a lot of fun in the role which makes it even more enjoyable to watch.

The score by Mark Isham plays into the action and feels reminiscent of Cage’s films from the 90s with a mix of fast-paced tracks to backdrop the chase scenes while slower and more dramatic tracks support the emotional moments between characters. The track “They Made You” is one of the highlights as it is filled with plenty of tension while also incorporating the Spanish guitar to reflect the film’s setting. Isham’s score works well as it fits the film perfectly while also leaning into Cage’s persona and filmography.

The Unbearable Weight of Massive Talent is a wonderful celebration of Nicolas Cage and his unique charisma and acting style. However, the film isn’t simply a tribute to the star as it incorporates an intriguing storyline and a phenomenal turn by Pedro Pascal who has great chemistry with Cage throughout the film. With plenty of humour from beginning to end, there is also a thread of sincerity that brings an emotional weight to the film.

What did you think of The Unbearable Weight of Massive Talent? Let me know in the comments below!

The Unbearable Weight of Massive Talent is available to own on DVD and bluray!

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Review

Brian and Charles (2022)

One of the big surprises to come out of Sundance: London Festival this year was Brian and Charles which won the Audience Award. The film follows Brian Gittins (David Earl), a middle-aged inventor who lives by himself in a rural Welsh village. When he comes across a mannequin head in a pile of rubbish, he is immediately inspired and creates a robot that has a washing machine for a body. One stormy night, the robot comes alive and is given the name Charles Petrescu (Chris Hayward) and the film chronicles their adventures with all their ups and downs, especially as Brian grows close to Hazel (Louise Brealey), a woman who lives in the village with her mum.

The film is directed by Jim Archer from a script written by the film’s stars, David Earl and Chris Hayward. What works so well is how coherent and well-matched the directing style is with the writing. The backdrop of rural Wales works beautifully with the whimsy and magic of the script, while also maintaining a minimalism that truly allows the characters to shine. Brian and Charles is a film that wears its heart on its sleeve and puts its characters right in the centre of the plot, meaning that there is no need for bells and whistles and elaborate set pieces. The stripped-back nature of the filmmaking style goes hand-in-hand with the simplicity of the plot. The film is a mockumentary which is highly evident in the film’s opening scenes as Brian is lonely and only has the crew to talk to, but as the film progresses and he finds friendship in Charles and a blossoming relationship with Hazel, he engages with the crew less and less, becoming less concerned with how he is perceived on camera.

David Earl stars as Brian, the lovable and lonely inventor who finds that making a robot gives him a new found confidence and a fresh perspective on life. Earl’s performance is sweet as we see Brian grow in confidence throughout the film as he learns to stand up to a family that thrives on bullying the locals, including Brian himself. The scene in which Charles has been kidnapped and Brian doesn’t have the confidence to take him back when he has the chance is heartbreaking as we really feel the character’s predicament and pain in the situation.

Playing Charles is Chris Hayward who dons a box and mannequin head with style. What makes Hayward’s performance so effective is that he successfully manages to get the audience to care for Charles from the offset. Charles is eager to explore the world and feels trapped by Brian who forbids him from venturing outside without permission. It seems impossible that a robot would be able to feel emotion or have dreams, but Charles does and we see his attitude change as he begins to rebel against Brian.

In support, Louise Brealey plays Hazel, a shy and nervous woman who lives in the village with her mum and parrot. Just like Brian, Hazel is also incredibly awkward and afraid to go after what she wants. When Charles is introduced on the scene, he helps Brian and Hazel to push through their awkwardness and explore the potential for a relationship. Hazel proves to be a strong ally for Brian and Charles, doing everything she can to save the latter when he is kidnapped. Brealey is a great onscreen partner with Earl as they are able to bounce of the awkward humour successfully.

The score was composed by Daniel Pemberton, who continues to showcase his ability to adapt to all sorts of genres. His score feeds into the whimsy in the story with the opening track, “Wales, Land of Wonder” setting up the film’s laid-back and minimalism. However, this is also contrasted with robotic sounds such as the track “Crossed Wires” which exaggerates the growing tension between Brian and Charles as the latter is desperate to leave and go on his own adventure while Brian refuses to let this happen. What makes Pemberton one of the best British film composers working today is his ability to bring forth the characters’ emotions in his tracks and allowing the music to compliment those feelings and bring those feelings to the surface.

Brian and Charles has proven to be one of the best feel-good films of the year. It’s a film grounded in minimalism that doesn’t need all the bells and whistles to convey its message. Just like the gorgeous natural Welsh landscape that surrounds the village, Brian and Charles is an emotional and funny yet sincere tale about friendship and coping with loneliness. While it is a film that is simple in its storyline and execution, the way it explores themes of loneliness, relationships and belonging is incredibly rich and will leave you with a smile on your face long after the credits roll.

What did you think of Brian and Charles? Let me know in the comments below!

Brian and Charles is available to watch in cinemas now!

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Thor: Love and Thunder (2022)

Thor: Love and Thunder is the latest installment in the Thor franchise and most recent addition to the Marvel Cinematic Universe. The film follows Norse God of Thunder, Thor (Chris Hemsworth) who has been on many adventures with the Guardians of the Galaxy. When it transpires that Gods across the universe are being slaughtered by Gorr, the God Butcher (Christian Bale), Thor must return to New Asgard with Korg (Taika Waititi) and team up with Valkyrie (Tessa Thompson) and Jane Foster (Natalie Portman), who has bonded with Thor’s old hammer, Mjolnir, and becomes the Mighty Thor in the hopes of stopping Gorr from completing his quest.

The film is directed by Taika Waititi who cowrote the script with Jennifer Kaytin Robinson. Whereas Thor: Ragnarok leaned more heavily on its use of humour to mark a change in tone for the Thor franchise, it seems that Waititi wanted to incorporate a more serious undertone with the film’s discussions on loss of faith and loss of love and grief. However, if seems that Waititi and Robinson struggled at parts to get a balanced tone in certain parts as there were moments of sincerity that were undercut with humour and it didn’t quite land in the way it was meant to. These moments tended to be when Jane was discussing her illness with Thor. The writing in the opening sequence with Gorr felt overly explained and it would have had a stronger impact if every stage of Gorr’s plan wasn’t whispered to him as the audience can put the pieces together of what his intentions are at this point in time. That being said, the final act of the film was among the best that Marvel has to offer as Waititi and Robinson weren’t afraid to confront darker and sadder themes.

Chris Hemsworth is fantastic as usual in the leading role of Thor, continuing to showcase the funnier side of the God of Thunder that Waititi introduced us to in the previous installment, Thor: Ragnarok. Despite the tonal misbalance in the writing, Hemsworth does an excellent job of leading the film, while also proving his ability to balance comical and dramatic acting. His scenes with Jane are filled with inner emotional conflict that he refuses to admit, but as the film progresses, his vulnerability begins to show. It’s clear that despite all the success that Thor has and how much he has achieved, not having Jane in his life has taken its emotional toll on him.

Natalie Portman’s performance is heartbreaking as Jane is revealed to be terminally ill. As her body us unable to fight against the cancer, Jane turns away from science and looks to magic in the hope that it will save her life. She is called by Mjolnir, Thor’s old hammer, and becomes Mighty Thor. While Jane was arguably wasted in previous Thor films, especially, Thor: The Dark World, Thor: Love and Thunder makes the most of Portman’s exceptional talent. She is able to weave in traces of her own personality and passions, including lines that reference Jane’s strength as a woman and her achievements as a woman in science. Thor: Love and Thunder works as an ode to Jane’s character and makes complete use of Portman’s abilities.

Christian Bale is the film’s scene stealer as Gorr the God Butcher. Following his daughter’s demise in the film’s opening scene, Gorr becomes disillusioned with the concept of Gods and their duty to provide salvation for their followers. He is chosen by the Necrosword and vows to kill all Gods with the weapon. The way that Gorr is portrayed and written into the film is unlike the majority of Marvel villains. We truly get to see Gorr’s perspective as his frail and starving demeanor is transformed into a monster that is almost ghostly as he makes his way across the universe, slaying Gods. Another reason that Gorr is an intriguing character is that his reasoning for killing Gods is actually justified. He and his community have committed their lives to serving Gods that simply do not care for their devotees. His quest for justice is by no means right, but it’s not entirely wrong either. Just as the Shadow Realm is portrayed, we venture into a grey area in terms of morality.

The cinematography provided by Barry Idoine is highly striking and makes Thor: Love and Thunder such a rollercoaster to watch. The vibrancy of the scenes in Omnipotent City where the remaining Gods reside contrasts beautifully with the darkness of the Shadow Realm where Gorr is residing. The scenes in the Shadow Realm may be stripped of colour, but the way Idoine angles and contrasts the darkness and light goes hand in hand with the film’s themes of right and wrong. As Thor, Mighty Thor and Valkyrie search for the children in the Shadow Realm, their weapons light the way and provide glimpses of colour on their clothes and skin, which is a very nice touch to show their limited power in this place.

While Thor: Love and Thunder may have moments of tonal misbalance and a script that doesn’t quite hit the same mark as predecessor, Thor: Ragnarok, it does a brilliant job of bringing in old and new characters, while also allowing Waititi to integrate his own signature quirkiness and humour into the mix. With plenty of appearances from a variety of characters including the Guardians of the Galaxy as well as a fantastic performance by Russell Crowe as Zeus, Thor: Love and Thunder is an entertaining watch that includes some brilliantly executed emotional moments as well as a stunning turn from Bale.

What did you think of Thor: Love and Thunder? Let me know in the comments below!

Thor: Love and Thunder is available to watch in cinemas now!

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Review

Elvis (2022)

Elvis is one of the big films to be released this year as it sees Australian filmmaker Baz Luhrmann make a return to the big screen since his 2013 adaptation of F. Scott Fitzgerald’s The Great Gatsby. Starring Austin Butler as the titular musician, Elvis Presley, the film chronicles his turbulent relationship with his manager, Colonel Tom Parker (Tom Hanks) and his attempts to balance an incredibly successful singing career and a family life with wife, Priscilla (Olivia DeJonge) and daughter, Lisa-Marie. It’s a dazzling film that is relentless in storytelling yet simultaneously tells a tragic story about a talented individual who is consistently taken advantage of, culminating in a sad end that sees him addicted to drugs and unable to break free from his manager’s clutches.

The film is directed by Baz Luhrmann who cowrote the script with Sam Bromell, Craig Pearce and Jeremy Doner. As expected from a Luhrmann film, Elvis is a striking film that believes in a “more is more” philosophy, cramming in plenty of visual symbolism and cultural references to emphasise the setting of the film. Luhrmann knows how to craft a film that coincides with music and while the script may be hefty coming in at 160 minutes with odd pacing at time, it allows us to see a side to Elvis that the audience never got to see. There are certain elements that are looked over as it’s clear that Luhrmann wants to ensure that Elvis is portrayed in as positive a light as possible, while also ensuring that Parker is the clear villain of the film which is does.

Austin Butler beat out a ton of big names to portray the musician. His Elvis doesn’t feel like a cheap imitation in the way that many musician biopics do. Butler’s performance feels thoroughly researched and dedicated as there is a longing that Elvis has to better his career and a frustration as his attempts to try new things are stopped by Parker. The scenes in which Elvis confronts Parker about the latter’s behaviour is truly terrifying as all the tension and anger had bubbled to the surface. His singing performance is also excellent as it doesn’t feel as though he is trying to do a perfect match, but he does sound a lot like Elvis, making it difficult to separate which sounds and images are Butler and which are Elvis throughout.

Tom Hanks portrays Colonel Tom Parker in a role that sees him play against type. Hanks has been open in the past about not playing a villain, but it all changes when portraying Parker. An intriguing decision Luhrmann made was to shoot the film from Parker’s perspective, ultimately making him no different to an unreliable narrator. Parker is surprised by the accusations that have been thrown his way through the years and denies that he treated Elvis badly. Hanks’ performance is filled with deceit and deception as he manipulates Elvis into doing his business. While it may not seem obvious at first, his manipulation becomes more obvious and desperate as the film goes on. It will be surprising if Hanks is not brought into the Best Supporting Actor conversation come award season as it shows him tackling new range.

As with any Baz Luhrmann film, the cinemtography is a sight to behold. Collaborating with Luhrmann for a second time is Mandy Walker, who worked on his 2008 film, Australia. Walker conveys the delusion of show business and its ruthless nature. One moment we are at Elvis’ youth which is simplistic and more traditional in its style before diving into the bright, dizzying lights of Vegas and the swirling roulette tables that are always spinning as we see Elvis worked to the bone at the hands of his greedy manager.

One element that contributes to the striking aesthetic is the costume design by Catherine Martin. This is a film where the costumes become a character themselves as Elvis dons almost one hundred different costumes throughout the movie. What is impressive about Martin’s dedication to her craft is that she commissioned costumes that were made in exactly the same way that Elvis’ jumpsuits were made for the stage. This gives the costumes that authentic feeling without feeling silly or like a caricature. Even the elaborate stage costumes have a natural appearance about them as we have seen Elvis’ personal style develop over the course of the film’s 160 minute run.

The film is filled to the brim with Elvis classics, but what Luhrmann does that is always brilliant to see is tweak the music and incorporate a more modern film. In the same vein as Mounlin Rouge!, the soundtrack is filled with covers from current artists, showcasing the timelessness of Elvis’ music. What the sound department do brilliantly is combine the original Elvis vocals with the covers so it becomes one song, while the score and sound mixing is done brilliantly throughout the film so the audience are truly immersed in music, as though we were in Elvis’ mind.

Overall, Elvis may contain all the trademarks associated with Luhrmann’s filmography and it works beautifully with the film’s subject by showcasing the glitz and glamour of show business. With excellent leading performances from Butler and Hanks, it’s easy to imagine this film up for some nominations come awards season, even if there is a while to go.

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

Elvis is available to view in cinemas now!

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Review

All My Friends Hate Me (2021)

All My Friends Hate Me is a British comedy horror films that has proven to be one of the underrated gems of year. The film follows Pete (Tom Stourton), a charity worker, who is planning to spend his 31st birthday with friends from university who he hasn’t seen in years. The celebrations take place at the estate owned by friend George (Joshua McGuire) and it becomes apparent that while Pete may have matured since his partying days, the same cannot be said about his friends who seem to be stuck in the past. When newcomer, Harry (Dustin Demri-Burns), joins the group on their escapades, Pete grows more and more paranoid that he is being pushed out the group.

Directed by Andrew Gaynord and with the script written by Tom Palmer and Tom Stourton, All My Friends Hate Me is a brilliant take on British horror. It subverts everything you would expect from a British horror film while exploring issues revolving around class and privilege. Palmer and Stourton’s script is a perfect blend of horror and comedy demonstrating plenty of examples of excellent comedic timing throughout the duration of the film. Despite only running for 93 minutes, the film is full of character development for its cast thanks to the peppering seeds of doubt that are planted all the way through the film, leading to the extremely tense climactic scene. Gaynord’s direction takes advantage of the limited locations by making the large estate feel incredibly small and claustrophobic as though Pete has no means of escape.

Tom Stourton leads the cast as protagonist Pete, a charity worker who believes that he has grown up and matured since his university days, while the others seem to be trapped in the mentality. What is great about Stourton’s character and the performance is that he is not as different to the others as he may think. He comments on their backgrounds and their privilege plenty, despite coming from a similar background himself, while also forgetting about the various displays of behaviour that he had committed at university in a bid to disconnect himself from that privilege and lead a life where he can help those less fortunate. However, simply forgetting or refusing to acknowledge privilege and wrongdoings of the past is not good enough and in this film, we see the paranoia and delusions unfold as Pete is forced to look in the mirror and reflect on what kind of person he is and who he has been. Pete is such a fantastic character to follow because he ventures in this grey area where there is no blatant right or wrong.

There are lots of brilliant supporting turns, but Graham Dickson shines as the super-posh, Archie, a selfdescribed “toff” who is struggling to come up with a decent business plan. What makes Archie a gem of a character is that he is fully aware of his privelege and takes ownership of his lifestyle. He is both likeable and unlikeable at the same time and it’s a testament to Dickson’s ability to exaggerate the character without it feeling like a caricature. Totally opposite to Archie is Pete’s girlfriend, Sonia who is played by Charly Clive in what can be deemed as the most grounded performance. Sonia is from the North (presumably meant to read as working class) which immediately puts her in a separate category from everybody else with their affluent upbringing. Clive isn’t in the film a lot, but when she is onscreen, it is as though her character is the one that can ground the tension and bring understanding. What is great about Sonia is that she isn’t afraid to speak her mind and doesn’t let herself be put down by the others, especially Archie. The variety of characters is what makes All My Friends Hate Me such an engaging watch as we get to see these eclectic personalities clash.

A personal highlight was the music by Will Lowes and Joe Robbins which elevates the tension and draws on the horror of the film. The music style feels familiar to soundtracks of other modern horrors, but the way it bounces off the comedy in the film works excellently. There are drawn out violin pieces to highlight the isolation that Pete is feeling and the rising paranoia that is building throughout the film.

All My Friends Hate Me does a brilliant job of subverting various tropes associated with British horror. Palmer and Stourton’s script takes the audience on a journey filled with so many twists and turns that we begin to feel Pete’s paranoia and delusion, questioning every action and reaction that takes place. Despite the short running time, All My Friends Hate Me has a lot to discuss in the topics of class and privilege, and manages to do this while ensuring that the characters are fleshed out enough so we are gripped from beginning to end.

What did you think of All My Friends Hate Me? Let me know in the comments below!

All My Friends Hate Me is available to watch in cinemas now!

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Review

Jurassic World: Dominion (2022)

Jurassic World: Dominion is one of the big films to be released this year and concludes the Jurassic World Trilogy. One of the main selling points of this film is that director Colin Trevorrow had managed to bring the original trio (Laura Dern, Sam Neill and Jeff Goldblum) from Jurassic Park back. This was an incredibly smart choice because one of the main issues with the Jurassic World franchise had been a lack of developed characters. Jurassic World: Dominion sees dinosaurs released upon the world while a swarm of genetically modified locusts have been consuming crops globally and threaten the world’s food supply. It’s up to Owen (Chris Pratt) and crew to put a stop to it with the help of Alan Grant (Neill), Ellie Sattler (Dern) and Ian Malcolm (Goldblum).

Directed by Colin Trevorrow who cowrote the screenplay with Emily Carmichael, Jurassic World: Dominion is a film that is full of ideas but it doesn’t know what it is saying. The main plotline that sees the locusts consuming crops all over the world and threatening the food supply is a genuinely interesting concept, but it feels as though it has come from a different film. Although locusts may have existed in the prehistoric era, audiences watch the Jurassic Park and Jurassic World films for dinosaurs and it feels as though there were hardly any scenes including dinosaurs throughout the film’s overly long 2 and a half hour run.

Leading the cast is Chris Pratt as Owen and Bryce Dallas Howard as Claire, who have been working to protect dinosaurs from illegal capture and poaching, whilst also hiding clone Maisie (Isabella Sermon) from those who want her DNA. There is a lot going on in terms of their plotline, but throughout the Jurassic World franchise, we still don’t get to see a lot of character development from either Owen or Claire, which is especially evident when they are in scenes with the original trio. While Pratt and Howard are more than capable actors, it feels as though their characters haven’t been given enough material to deal with and in this climactic final installment, this is more apparent than ever as the audience is gripped by other characters and their stories.

The best performances in the film belong to the returning cast from the original Jurassic Park. Laura Dern, Jeff Goldbum, and Sam Neill return to assist Owen and crew in their bid to prevent a locust outbreak that threatens the food supply. Dern, in particular, is clearly having so much fun in her role and it shows, while Neill and Goldblum are also as charismatic as ever. It was great to see the original trio utilised throughout the film extensively, rather than just being reduced to cameos as their inclusion made the film exciting to watch.

One of the highlights of the film is the music by Michael Giacchino. Giacchino was definitely the best choice to take over from John Williams as he does not try to completely redo the iconic score. Instead, Giacchino brings in elements of Williams’ Jurassic Park soundtrack and uses the music as a thread between the two franchises to showcase the parallels in characters and plot. Even when the film itself does not live up to the expectations, Giacchino ensures that the music is captivating and gripping by using Williams’ original soundtrack as a starting point and going from there.

Jurassic World: Dominion is a film that has way too much going on in terms of the amount of characters involved and various plot lines. However, some of the ideas it poses are genuinely intriguing such as the impact on food supply and how this affects an already vulnerable planet as well as brilliant performances from Neill, Dern and Goldblum. Jurassic World: Dominion relies heavily on the use of nostalgia and it is the scenes and moments that bring in sentimental touches from the original trilogy that prove to be among the best parts of the film.

What did you think of Jurassic World: Dominion? Let me know in the comments below!

Jurassic World: Dominion is available to watch in UK cinemas now!