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Annette (2021)

One of the big films to come out of this year’s Cannes Film Festival was Annette, the English language debut from French director Leos Carax. Following the relationship between controversial stand-up comedian, Henry McHenry (Adam Driver) and famous soprano, Ann Defrasnoux (Marion Cotillard), Annette is an epic in terms of the various themes it explores as well as the cinematic scope. Running at a staggering 140 minutes, Annette features music written by Ron and Russell Mael of Sparks who cowrote the script alongside Carax and the result is a mind-blowingly wonderful experience that is unlike any film you have ever seen.

Annette sees Carax return to film after 2012’s Holy Motors and is his first English language film. What is fantastic about Carax’s approach to the film is how ironic and aware it is from the opening number all the way to the end. We are informed that we are watching a performance through the medium of performance and it is this layering of dark comedy and contrast that saw Carax win the Best Director award at this year’s Cannes Film Festival. On the surface, Annette may seem like a lot in terms of its various genres and themes but Carax handles it with ease and allows the film to develop organically. The script by Carax and Sparks takes us through a variety of different themes with some taking more prominence than others. Arguably, the most important theme observed in the film is celebrity, how distorting fame can be and how a public persona can overwhelm a person’s psyche to the point where reality and fantasy collide. Just in the way Annette plays with different themes, it is Carax’s way of merging musical, drama, romance and dark comedy that makes it exciting and unpredictable to watch.

Adam Driver delivers a career-best performance as Henry McHenry. From the first set that we see, McHenry never allows the audience in to what he is thinking and what his motives are. Driver’s performance is extremely visceral and layered as he fully encompasses McHenry on a physical and emotional level. Immediately grabbing the audience’s attention, McHenry lives for controversy and aspires to have his name in lights while simultaneously denouncing fame in his act. As Ann’s star rises and his wains, we begin to see McHenry’s public persona and his real personality begin to clash as he struggles to regain control of his public life which then filters into his personal life.

Playing Ann Defrasnoux is Oscar winner Marion Cotillard who is breathtaking as the soprano on the rise. Compared to McHenry’s unpredictable and controversial comedian who improvises his set, Defrasnoux is poised and controlled which is shown through her repeated performances that are lauded among critics and the public. Ann is more reserved than Henry and this seems to go in her favour as Henry begins to implode in his career while her career goes from strength to strength. Cotillard brings her best performance in years and again showing what makes her one of the great living actresses. Her turn as Ann is one filled with sorrow and hope simultaneously as she strives to do what is best for Annette and her relationship with Henry but as it begins to fall apart, she realises that there isn’t much that she can do.

Simon Helberg provides a fantastic supporting turn as The Accompanist, Ann’s pianist and aspiring conductor. Helberg is in it briefly throughout the first half but really comes into the film’s main plot in the second half where he is able to bring a beautifully nuanced performance that is full of bittersweet melancholy. His love and affection for Annette is clear as he reluctantly agrees to take care of her while Henry spends all of the money on his party lifestyle. Helberg may not be in a lot of the film’s 140 minute running time but he makes the most of it.

As Annette is a musical then it is important to discuss the music and songs. Written by Ron and Russell Mael of Sparks, the music is a key component in the film in many different ways rather than simply telling the story through song. We learn more about the characters through their style of music and how they sing with the main contrast being Henry’s aggressive rock-fuelled anthems that incorporate his audience and Ann’s operatic performances in which she is observed by the audience as she sings by herself. In a way, the music serves to tell us more about the protagonists and acts as a way to foreshadow in both a literal and figurative sense.

Overall, Annette is a unique film that truly subverts every misconception that comes with the musical genre. As musicals are seeing a resurgence in recent years and many stage shows are being brought to the silver screen, Annette is a shining example of the musical’s place in modern cinema thanks to its originality and complexity. Musicals are often viewed as an accessible art form but it’s the film’s reluctance to let the audience in that makes it such a uniquely challenging and rewarding film to watch. Thoroughly deserving of the praise it is receiving, Annette may not be an easy film to digest but it gives the audience plenty to think about and discuss once the credits have finished rolling and that is the sign of truly great cinema.

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

Annette is available to watch in cinemas now!

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Censor (2021)

One of the most anticipated British films of the year is finally here. Censor has been the subject of much discussion since its world premiere at this year’s Sundance Film Festival and it’s easy to see why. The film takes place in the early 1970s during the height of the Video Nasties craze and follows Enid Baines, an employee at the British Board of Film Classification (BBFC), who is put under public scrutiny after it is alleged that a film she allowed for release may have inspired a real life murder. Paired with an incident that sees her watch a film that looks like her missing sister, Enid’s sanity and knowledge between fact and fiction begin to merge together into a horrorshow that will see you falling down the rabbit hole with Enid.

The film has been directed by Prano Bailey-Bond who also cowrote the script with Anthony Fletcher. What is fantastic about Bailey-Bond’s approach is how authentic and well-researched every aspect of the film feels from the time period setting to the quality of the film and the methods that they would be shown to the censors. What separates a good horror from an excellent horror, especially in modern times, are their ability to merge the genre with social commentary and despite its early 1970s period stamp, Censor feels as timely as ever. Bailey-Bond’s fearless depiction of mental health deterioration as well as questioning the relationship between entertainment and media takes you on a journey that is unpredictable and highly rewarding to watch.

Niamh Algar is definitely one of this year’s stellar breakouts. Her turn as Enid Baines is a masterclass of characterisation as we see the character’s downward spiral into chaos and madness until the lines between reality and fiction become blurred. Filling the character with plenty of mannerisms such as her fidgeting as well as the detachment from the films she has to watch every day. The horror genre has brought us a slew of iconic characters in recent years, especially strong female characters and Enid Baines can sit confidently among them. The audience’s attention is captured from the beginning all the way through to the end and with horror acting as a groundbreaking genres for rising filmmakers to delve into, Censor works fantastically as a character study while subverting the horror genre and ripping the rule book.

The supporting cast do a great job of backing Algar and adding to the suspense and tension. In particular, Michael Smiley does a brilliant job as Doug Smart, a controversial producer whose films have garnered a negative reputation with the general public. Smart immediately takes a shine to Enid and insists that she reviews his latest project which sets the film in motion, Smiley brings a subtle and subdued quality that makes every movement and line unpredictable. Making the most of every second he is on screen, Smiley can always be relied upon to bring an unexpected performance.

One of the many highlights in this film is the score that has been composed by Emilie Levienaise-Farrouch. Much like the script, cinematography and editing, the score merges a modern horror score with music that feels reminiscent of the 1970s horror music to create something that feels unique and distinctive. There are many scenes where it feels as though the music is its own character such as the scenes where Enid ventures through the train station and sees a woman who looks like her sister. The score in these moments feel as though it is Enid’s past creeping up on her and haunting her every move.

What makes Censor such an appealing film to watch is how brilliabtly crafted the cinematography and editing is. Edited by Mark Towns and cinematography by Annika Summerson, the film flits between a 1970s aesthetic and how a video nasty would appear on VHS. With the video nasty VHS quality becoming more prominent later on, it seems that the film itself is reflective of Enid’s state of mind and actually questions whether the film is a video nasty in itself as it blends between the fact and fiction. The dark colour palettes of the film add a disarming effect and blur those lines between sanity and madness.

If there is one horror that you plan on seeing this year then make sure it is Censor. Wickedly original with a script and direction that is filled to the brim with creativity and ambition. From beginning to end, you are transported into this world and the mind games that it plays with you mean that it’s merging of genres works so well. Bolstered by an amazing cast and with every aspect of the film so well thought out, Censor is by far one of the best films of the year and it’s exciting to see where Bailey-Bond’s career goes following this incredible feature debut.

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

Censor is out in cinemas now!

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People Just Do Nothing: Big in Japan (2021)

People Just Do Nothing is one of the funniest comedies the BBC has had to offer in recent years. Following the incredibly popular mockumentary style that has become increasingly common in the comedy format for TV shows, People Just Do Nothing follows a group of aspiring musicians who run a pirate radio station, Kurupt FM, and their quest to hit the big time. The show ran from 2014 to 2018 with the film, People Just Do Nothing: Big in Japan seeing us revisit the group as their signature song has seen a huge surge of popularity after being used in a game show in Japan. The boys hit Japan in the hopes of starting their professional careers and, as expected, run into all kinds of hilarious problems along the way. Just like 2016’s Absolutely Fabulous: The Movie, People Just Do Nothing: Big in Japan shows that you can have a lot of fun with a cinematic feature based on a sitcom with fantastic results.

Directed by Jack Clough and written by the cast, People Just Do Nothing: Big in Japan remains true to its roots. Not falling for common traps normally committed by films based on TV shows, the characters’ actions in the film feel true to how they would act on the show rather than making them caricatures or something less risky to please a larger audience. This is a film that has been made with the fan base in mind and with plenty of inside jokes and references to events that happened on the show, long time fans are sure to be happy with the results. Even those who haven’t watched the show before are sure to have a great time as the characters are well established and the introduction makes the following events of the film clear so as not to alienate the audience. Clough’s direction cleverly sticks to the mockumentary style and the script is well paced so as not to feel like an extended episode. The cast and crew make the most of the location filming and allow the audience to really see the most of Japan.

Reprising his role as the franchise’s lead, Allan Mustafa is great as MC Grindah, who agrees to fully corporate with the Japanese record company who want to make the group mainstream by giving them a complete image makeover that is world’s apart from what they present. Mustafa’s performance is on top form and he ensures that Grindah is as funny and deluded as ever. The premise of the film is simply but the way that Mustafa performs allows us to see real growth in Grindah as he begins to lose grip of his roots and starts to become fashioned into the record label’s image of what a successful musician should be like. We see the mental anguish that he feels as he is pulled in each direction until he has a major breakdown while still providing his signature comical performance so the film isn’t dragged down by the seriousness.

Could there really be a People Just Do Nothing film without Asim Chaudhry as the iconic Chabuddy G? The answer is no and luckily, we don’t have to wonder as Chaudhry is on top form as everyone’s favourite manager. It’s just a shame that he isn’t in it more but as we see Chabuddy’s position as manager threatened, we begin to see his life unravel in a way that seems even worse than what we have seen before. We see plenty of laughs as Chabuddy tries to bluff his way through a variety of situations but there is also a sincere side that we see as he tries to stop Grindah but venturing down a path that isn’t true to his image.

There were so many highlights in this film from the hilarious reveal of the group’s stage costumes to the dance moves they are expected to learn but the greatest development to arise from the film is the relationship between Steves (Steve Stamp) and Miki (Hitomi Souno). Steves is often the fall guy of the group and often finds himself in the worst circumstances but doesn’t really mind due to his permanently drug induced state but it is his scenes with record label employee Miki that provides the majority of laughs throughout the film. You may have watched the film and wondered if there is anyone who can match Steves’ level of weirdness and the film answers that question. What starts as hysterical shenanigans soon turns into something more and it is lovely to see Steves develop another layer and see a different side to him.

Overall, People Just Do Nothing: Big in Japan isn’t afraid to have fun and allows fans and newcomers to the franchise alike enjoy their adventures. With plenty of laughs and hysterical characterisation, this is definitely a film that will pleasantly surprise you and is entertaining to watch.

What did you think of People Just Do Nothing: Big in Japan? Let me know in the comments below!

People Just Do Nothing: Big in Japan is available to watch in cinemas now!

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Zola (2020)

After a year delay, Zola has finally hit cinemas and was well worth the wait. Based on a series of tweets published by Aziah “Zola” King as well as an article written on the subject, “Zola Tells All: The Real Story Behind the Greatest Stripper Saga Ever Tweeted” by David Kushner, Zola captures the viewers attention right from the beginning as the titular character narrates various Tweets throughout the film. For those who don’t know, Zola follows the titular character (Taylour Paige), a stripper from Detroit who meets fellow stripper, Stefani (Riley Keough) who encourages Zola to join her, her boyfriend Derrek (Nicholas Braun) and mysterious friend, X (Colman Domingo) in Tampa, Florida. What follows is a series of events that can only be seen to be believed and makes up a weekend full of sex and violence that make for a gripping film. Boasting plenty of new talent as well as familiar faces, Zola is one of the best films of the year thanks to its originality and distinct style.

It’s not often you see films that are based on a series of Tweets but it is thanks to the direction that Janicza Bravo brings as well as the screenplay that she cowrote with Jeremy O. Harris that elevates it to a fantastic level. The direction style is highly confident and fully embraces Zola’s lifestyle while bringing a female gaze that ensures that the female characters are not simply there to be stared at. The screenplay is extremely tight, perfectly based and develops the central characters beautifully whilst remaining utterly hilarious thanks to the use of dark humour throughout. Harris has made a name for himself as a playwright and his debut cinematic screenplay showcases his ability to write for different mediums.

Taylour Paige and Riley Keough are fantastic as the film’s leads, Zola and Stefani, respectively. Although both of them make a living as strippers, their approaches and outlook on life is completely different as Zola has complete control over her career while Stefani appears to be trapped. Paige has proven herself to be the perfect choice for this film as she is able to flit between being a supportive figure for Stefani one moment while chastising X’s behaviour the next. She conveys the wide spectrum of emotions that Zola feels in such a short amount of time and becomes a character that we want to learn more about. On the other hand, Keough has been a firm favourite of independent films over recent years starring in films such as The House That Jack Built (2018) and Under the Silver Lake (2018) which makes her a great choice for Stefani. Her performance as Stefani initially is funny before we learn of the dark undercurrents that run through her life but it never feels as though Keough’s character is a caricature. The chemistry that Paige and Keough have makes for a great onscreen duo which works really well as we see them become good friends while being completely explosive as that relationship fizzles.

Colman Domingo is superb as the film’s villain, X. Not only is he absolutely terrifying but he will stop at nothing to ensure that he gets his money. Domingo is a brilliant actor and has a great filmography to boot so his inclusion as X means that you can be assured of a performance that makes the perfect clash with the titular character. What is particularly great about X’s character and Domingo’s portrayal is that we only learn as much about him as Zola recounts in her Tweets which feels authentic and true to the film’s retelling of what happened. This means that his seemingly unexpected behaviour isn’t justified and that the audience learns about him as Zola does.

Mica Levi is one of the best composers working in the film industry and with their work including composing the game changing score for Under the Skin and receiving and Academy Award nomination for their score on 2016’s Jackie, Levi was the perfect person to turn to for Zola. From the outset, Levi’s distinct electronic sounds are recognisable and work perfectly with the film. Venturing from loud tracks that underline party seems to more sparse and intense tracks that allow the film to enter thriller territory, Levi’s score becomes a key characteristic that works well with helping Zola become its own film.

Overall, Zola is an exciting and riveting watch from beginning to end. The combination of referring to the source material mixed with other character’s online accounts. Never conforming to one genre and always delivering the unexpected, Zola is an incredible and exciting achievement in filmmaking and filled with great performances from the leading and supporting cast.

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

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The Suicide Squad (2021)

As cinemas have gradually been getting back to normal, a lot has been riding on the release of James Gunn’s The Suicide Squad. The sequel to the much maligned 2016 film, Suicide Squad, The Suicide Squad may not have a title that clearly distinguishes it from its predecessor but the standard in overall quality couldn’t be further apart. Following some familiar faces led by Harley Quinn (Margot Robbie) and Rick Flag (Joel Kinnaman) as well as some new villains such as Bloodsport (Idris Elba) and Peacemaker (John Cena), the Squad must infiltrate the South American country of Corto Maltese to prevent an experiment that threatens the US. What follows is a film full of twists and turns that brings the best of comic movies by incorporating a gripping storyline combined with imaginative characters and great special effects. The Suicide Squad lives up to the hype and shows that there is more to these characters then we were led to believe in the 2016 film.

Written and directed by James Gunn, The Suicide Squad combines a cartoonish style with extreme violence resulting in a film that is fun to watch. Gunn proves himself the perfect match for this franchise and has helped propel it back to where it can be and in turn, giving it a future for more Suicide Squad films. If Birds of Prey displayed just how well the Harley Quinn character can lead a film, The Suicide Squad shows that there is even more that can be done with the character. Gunn has clearly thought back to the 2016 film and written a film that incorporates what works and what doesn’t. The script is much tighter and concise while giving the characters the development they need and ensuring that there are plenty of action scenes. One big improvement for this film was the soundtrack which is more controlled and doesn’t flit from one song to the next which is what happened with the 2016 film. All in all, James Gunn is what this franchise needed and it will be interesting to see if he is involved in any of the sequels.

Margot Robbie brings another memorable performance as Harley Quinn. Showing why she is one of the most in demand actresses working today, Robbie is highly charismatic and charming as Quinn, who has moved on from the tragedies regarding her ex once and for all. What is refreshing about The Suicise Squad is that it is an action film that relies heavily on Quinn and with the success of Birds of Prey, was a brilliant decision. Many of the highlights in the film are attributed to Robbie’s performance and that frantic energy she brings to the role. The best scene I the film is one that sees her break out of her captivity with the combination of her many confrontations with military personnel and fluid cinematography creating a sequence that is captivating and violent to watch.

When it comes to the supporting cast, there are a slew of strong performances. With a few returning faces such as Rick Flagg (Joel Kinnamin) and plenty of new characters such as Bloodsport (Idris Elba) and Peacemaker (John Cena) but the highlight by far is Sylvestor Stallone’s incredible voice work as King Shark. Stallone is one of the most iconic action stars and has a strong filmography to boot but it’s easy to forget just how funny he can be. His villainous turn in Robert Rodriguez’s 2003 spy comedy Spy Kids 3-D: Game Over as The Toymaker is brilliantly funny and incorporates plenty of charisma. He channels a similar energy in his performance as King Shark which, despite being a character with limited communicative skills, is just as lovable and developed as the rest of the Squad.

Overall, The Suicide Squad was what Suicide Squad could and should have been. Combining the fun of the comics with flourishing colours and action that flies off the screen, James Gunn appears to have shown us how great this franchise is and the potential it has in the future. Hopefully Gunn has even more ideas up his sleeve for the next installment and it will expand more into the DC Universe.

What did you think of The Suicide Squad? Let me know in the comments below!

The Suicide Squad is available to watch in cinemas now!

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Luca (2021)

Pixar’s latest film, Luca, takes us all the way to the Italy and follows the life of the titular character, a sea monster, who longs to have adventures on the surface after being introduced to the land by his new friend, Alberto, who is also a sea monster. The two escape to the nearby town of Portorosso in a bid to purchase a Vespa so they can go on many adventures. There have been comparisons made with other films such as Call Me By Your Name and Disney’s own The Little Mermaid but Luca is a distinctly unique film of its own and blends wonderful animation style with an unexpected storyline. Directed by Enrico Casarosa and based on a script by Mike Jones and Jesse Andrews, Luca will leave you breathless thanks to the beautiful animation, engaging characters and heart warming message.

Casarosa’s direction is wonderful and Luca marks his feature directorial debut for Pixar following his beautiful Oscar nominated short, La Luna. What made La Luna such a standout short among the Pixar shorts is how vivid it is in its use of colours as well as how emotional the storytelling is. Casarosa certainly knows how to convey the emotion of storytelling through the differing landscapes. The script also does well in serving this desire for freedom as we are thrust into Luca’s world with very little set up so we become introduced to everything as Luca is. Taking inspiration from the films of Studio Ghibli in terms of the rich scenery, coming of age journeys as well as naming the town Portorosso after Ghibli’s beloved film Porco Rosso which also takes place in Italy. Jones and Andrew have written a film that dives deeper than what’s on the surface.

Leading the cast as the titular character is Jacob Tremblay, who has had a brilliant career for someone so young. Having his breakthrough aged 9 in the Oscar winning Room, Tremblay has quickly established himself as an actor capable of bringing a variety of strong performances that many adults could only hope to achieve. This makes him perfectly cast as the titular character, Luca, who wants to explore the world against his parents’ wishes. There are a lot of similarities between Luca’s character and Miguel from Coco in that they are both young boys who want to venture away from what is expected from them and express themselves. Where Miguel wishes to create music, Luca wants to travel and learn about the world. At the start of the film, we see how Luca’s life is micromanaged and despite living in the ocean, is confined to a particular amount of space and is not allowed to venture outside of it before his eyes are opened by Alberto who shows him that there is an entire world out there. Tremblay embodies Luca’s adventurous side and enthusiasm for learning really well and makes the film even more enjoyable to watch.

The rest of the cast is full of newer faces as well as established names which provides a freshness and balance which is needed. Sometimes, animated films can be filled to the brim with starry names but this can take away from the magic of the film. Jack Dylan Grazer does a fantastic job as Alberto, the confident know-it-all who introduces Luca to the surface. As he grows closer to Luca, we begin to see Alberto’s deeper layers and his vulnerability begins to show. Grazer portrays this perfectly and, like Tremblay, has demonstrated his ability to act in a wide range of roles. Newcomer Emma Berman brings a wonderfully energetic performance as outgoing Giulia, who is determined to win the local triathlon while acting staples Maya Rudolph and Sacha Baron Cohen are absolutely wonderful in their small roles as Luca’s mother and uncle respectfully.

With the film being set in Italy and showing this big adventure and friendship between Luca, Alberto and eventually Giulia, the music had to be spectacular to match the film’s brilliance. When it comes to superb film composers, there are few that have achieved the emotion and spectacle in their music as Dan Romer. Romer’s score for the phenomenal Beasts of the Southern Wild is one of the best scores this century thanks to his strong control using brass and strings specifically to convey the fine line between emotions. It is no different with Luca. Bringing in signature brass statements when the boys escape to Portorosso and mixing it with softer pieces, Romer adds another successful installment in a filmography that is bursting with so much talent.

Luca does have an abrupt start but once it finds it flow, the film begins to unfold and develop beautifully. Combining lovable characters, a great script and fantastic direction that has become a staple of Pixar creations, Luca brings an important message of accepting one another’s differences and pursuing your passions in a world that is full of sunshine and colour. A brilliant summer blockbuster, it definitely would have been great to see this on the big screen and hopefully Pixar will be coming back to cinemas with their next release.

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

Luca is available to watch on Disney+ now!

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Guns Akimbo (2019)

Jason Lei Howden’s 2019 action film Guns Akimbo had a massive amount of hype in the lead up to its release thanks to various amounts of images shared of the film’s lead Daniel Radcliffe walking around New York in a frenzy in his dressing gown while sporting guns. People thought Radcliffe was having a breakdown but rest assured he was just filming. The film explores a criminal organisation known as Skizm which has gained massive popularity online thanks to their competitions which sees criminals go head to head to the death which is live streamed. When app designer Miles (Daniel Radcliffe) becomes comfortable telling viewers in the forum how pathetic they are, he is tracked down by Skizm and forced to face off with their leading figure, Nix (Samara Weaving). What follows is a film filled with lots of chaos, blood violence which makes it unsuitable for the faint of heart but it is always undoubtedly one of the most original films you’ll come across.

Primarily an action film, Guns Akimbo dabbles in an array of different genres including comedy and horror. Written and directed by Howden, the film starts off by setting up Miles’ character and the lead up the situation that results in his involvement with Skizm. Once this happens, the film appears to take a complete 180 and becomes relentless in its pace and keeps you gripped for the duration of the film as the dynamic between Miles and Nix shifts as they try to kill the other without dying themselves. Howden’s direction is extremely loud and chaotic which helps to highlight the tight script that has lots of character development, especially that of the film’s leading characters. Howden has certainly made an impression with this stunning film.

Daniel Radcliffe continues to show off his acting range and does a terrific job as Miles. Miles is not the typical everyman figure. After all, he ends up involved in Skizm and has guns attached to his hands for the majority of the film. Since his decade long tenure as the titular character in the Harry Potter film series, Radcliffe has opted to act in films that challenge him as an actor. His performance as Miles shows how charismatic he can be as well as highlighting that he is more than capable of leading a film outside of the Harry Potter franchise. The character growth that Miles goes through from an everyman who doesn’t know anything about the criminal world to a trigger happy hero who aims to take down the organisation. Radcliffe’s performance is fun, energetic and highly entertaining, keeping us engrossed for the whole film.

The supporting performance comes from modern scream queen, Samara Weaving who pulls of a fantastic performance as Nix, the magnetic killer who wants to be freed from her criminal lifestyle and start a clean slate. Weaving can always been trusted to provide stellar turns no matter what she is in and her performance as Nix is no exception. Unpredictable and completely wild, Nix is a fantastic character who brings most of the violence and the chemistry that Weaving and Radcliffe have is part of what really works in this film. What makes Nix such an interesting character is how we learn bits and pieces about her as the film progresses as though she is a jigsaw puzzle to put together. If you’ve seen Ready or Not or The Babysitter and are wanting to view another Weaving flick then this is a great gem to watch.

Overall, Guns Akimbo is a film that brings the style and substance which makes it such an effective look as to how social media can feed into violence and vice versa. Howden’s film isn’t afraid to ask questions about culpability and ask whether watching such violence actually perpetrates it or if the viewer is blameless. Using the character of Miles as a physical representation of this, Guns Akimbo is a great film that should definitely be viewed at least once.

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

Guns Akimbo is available to watch on Amazon Prime in the UK now!

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The Forever Purge (2021)

Another film that was postponed thanks to the pandemic was The Forever Purge. Written by series creator James DeMonaco and directed by Everado Gout, The Forever Purge has been released as the latest in The Purge series. The film follows the events of the third film, The Purge: Election Year and sees the NFFA back in power and the purge reinstated. However, things don’t go to plan and a large uprising across the US decide to implement the “forever purge” and do not stop purging after the sirens have sounded. The Purge franchise is one with a large fan base and has done well financially because of how entertaining and imaginative they are while still bringing in real issues. The Forever Purge in particular feels especially appropriate for the times we live in. If you haven’t caught up on the franchise, I have done a review and ranking of the previous films which you can read here.

What The Purge series does so well is how it incorporates real social issues into the context of the films and The Forever Purge is no exception. Showing the purge from the point of view of Mexican illegal immigrants, we see the casual racism and cruel treatment that they are subjected to as people of colour and immigrants are tracked down and killed for their background. Gout’s direction is unflinching and fantastic by clearly highlighting the differences between the affluent Tucker residence owned by a rich white family and the livelihood of their employees which includes Juan and T.T, immigrants who had to escape Mexico due to rising Cartel violence and how their security differs when the purge commences. DeMonaco’s script helps to accommodate this as he asks questions on whether the American Dream really exists. Where we see Juan and Adela flee their native Mexico and illegally enter the US as they believe they can achieve their American Dream, they are forced to try and reenter Mexico with the Tuckers when Mexico’s borders are opened for a limited time for those seeking to escape the violence. These topics of identity, social and class status are often major issues explored in The Purge films but the geographical shift sees how the event has started to grow beyond its native country.

Mexican actor Tenoch Huerta is great in the leading role as Juan. Having to deal with racism on a smaller scale in his job, he soon learns that there is a larger problem as there is systemic killings across the US with people of colour and immigrants targeted specifically. Like other main characters in The Purge films, we don’t delve deeply into Juan’s background beyond the fact that he escaped from Mexico and is trying to make an honest living in Texas but it doesn’t really matter in a film like this and it allows for a lot of surprises and freedom in the script. There are some scenes where Huerta really shines including the sudden death of a friend in which we see that dramatic range come into play. Ana de la Reguera is also great as Juan’s wife, Adela, who isn’t afraid to confront and battle alongside Juan to protect the group. The performances from both Huerta and Reguera are among the best that the whole franchise have to offer and contribute to this being one of the strongest instalments that The Purge has to offer.

In support, Josh Lucas plays the affluent Dylan Tucker who runs the family ranch and his character is given a bit more background than we’re used to from supporting characters. It’s clear from his first few scenes that Dylan has racist opinions and treats his Mexican workers differently from others as well as dismissing the idea that his daughter should learn Spanish. However, The Forever Purge shows the progression in Dylan’s character as he begins to rely on the whole group and his judgements begin to fade. What the script does well is ensure that it is done naturally and not clumsily exposed in a way that feels inauthentic.

The Forever Purge was supposed to be the last in the franchise but producer Jason Blum plans to explore the stories of other characters we’ve come across in previous films. We have seen The Purge look into issues of race and class before but this film brings it to a post-Trump era. In a world where the gap between poor and rich grows more and extremism becomes more integrated into the media and mainstream society, films like The Forever Purge are important as they hold that mirror to society and present the consequences of a fractured society and aren’t afraid to ask questions.

What did you think of The Forever Purge? Let me know in the comments below!

The Forever Purge is available to see in cinemas now!

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Freaky (2020)

One film that saw a delayed international release was Christopher Landon’s horror comedy, Freaky. Combining plot points from Freaky Friday and Friday the 13th, the film follows a small town that is plagued by a sadistic serial killer, the Blissfield Butcher (Vince Vaughn) who ends up swapping bodies with Millie, a shy teenage girl (Kathryn Newton). The result is a hilarious film that sees the lead actors having to double up on their performances as they act as the other character when the body swap has occurred. It sounds absolutely ridiculously on paper and it is but it works thanks to the perfect blend of horror and comedy and despite being inspired by other films, it feels refreshing and unpredictable, making it hugely enjoyable to watch.

Directed by Christopher Landon and cowritten by Landon and Michael Kennedy, Freaky is much like his previous directorial effort Happy Death Day in the way that it incorporates plots from iconic films and brings it to the modern day in a new and original way. Not holding back on the gore while remaining hilarious and biting in its comedy, Freaky achieves what a lot of teenage horrors try to do and fail. The star turns by the leads and the strong characterisation of the support characters make it a film that is strong in foundation and gripping to watch.

Vince Vaughn is absolutely fantastic as the Blissfield Butcher, the urban legend serial killer who has been haunting the town for decades. As the Blissfield Butcher, Vaughn is silent and sleek in movement whereas the moment he performs as Millie, we see a complete 180 turn as he really gets into the mind of a teenage girl. Although we have seen Vaughn do comedies and horrors in the past, this feels like something entirely different than anything he has done before. In recent years, Vaughn has clearly been challenging himself and taken on roles that avoid any typecasting such as his supporting turn in Hacksaw Ridge (2016) and a great performance in the second series of True Detective. What makes his performance in Freaky so fantastic is how committed he is to the role where you actually forget that he isn’t a teenage girl at certain points. His character is written brilliantly for development and choosing to have him stay silent until after the body swap was a genius choice so we really can invest in the character.

Kathryn Newton has made a name for herself in horror having previously starred in Paranormal Activity 4 but has also shown her range in a variety of other genres. Where Paranormal Activity 4 saw her as the victim being traumatised, Freaky flips this on its head and allows Newton to play the villain for its majority. Starting the film as regular teenage girl, Millie, Newton is shy and reserved, allowing the troubles of her private life to take over and stop her from planning her future. Knowing the plot while watching the film, it’s difficult to think about Millie being a serial killer and Newton’s killer performance really comes to life after the body swap. At such a young age, Newton has proven herself to be an exciting star on the rise and her performance in Freaky is fearless and fun.

Overall, Freaky may take its inspiration from films of the past but the way it rechannels it for the modern era feels highly original. The great characters and tight writing will have you on the end of your seat thanks to its unpredictability and great fight sequences and imaginative death scenes. If you are looking for a horror film that is entertaining and a lot of fun to watch then you can’t go wrong with Freaky.

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

Freaky is out in cinemas now!

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Raya and the Last Dragon (2021)

Raya and her nemesis, Namaari, face off amid the snowy mountains of Spine. Featuring Kelly Marie Tran as the voice of Raya and Gemma Chan as the voice of Namaari, Walt Disney Animation Studios’ “Raya and the Last Dragon” will be in theaters and on Disney+ with Premier Access on March 5, 2021. © 2021 Disney. All Rights Reserved.

Disney’s latest animation, Raya and the Last Dragon continues the inclusion of strong female characters being incorporated into the Disney universe. Taking inspiration from an array of Southeast Asian cultures, the film takes place in Kumandra, a nation that is divided into five tribes following a power struggle between them that ended when Sisu, the last dragon, concentrated her power forming a magical gem that brings peace. Raya, the Princess of Heart, is tasked with recruiting all the pieces of the gem after it is broken. Travelling to the other four lands: Tail, Talon, Spine and Fang, Raya and Sisu work together to restore peace and bring Kumandra to its former glory.

Beautifully animated with fantastic characters that we have come to expect from the current Revival Era, Raya and the Last Dragon feels more mature than previous releases as it isn’t afraid to showcase the violence of conflict and the grief of loss. The film is directed by Don Hall and Carlos López Estrada with a screenplay written by Qui Nguyen and Adele Lim and it is clear that a lot of research has gone into developing the backstory and origin to ensure that it is a respectful and accurate depiction while also maintaining an original story that is both captivating and moving. The animation itself is rich in colour and intricately details. From the opening scene, you feel engrossed into the world and the culture from the animation style and the immersion of cultural folklore. Whether travelling through the rough sands of Tail to the wintery scenes in Spine, Raya and the Last Dragon is filled with breathtaking scenery, well developed characters and a story that takes you on a journey through folklore and adventure making it enjoyable for audiences of all ages.

Kelly Marie Tran provides a great leading performance as the voice of Raya. Having proven herself a worthy actress as Rose in Star Wars: The Last Jedi, Tran is perfectly cast as Raya as she provides the confidence and strength required of the character. We really feel Raya’s struggle and fight as she is faced with numerous obstacles that threaten to turn everyone in Kumandra to stone. Raya doesn’t sing about her feelings nor does she have a love interest, the film is solely about her and her mission to restore the gem and bring peace to the land. The scenes where Raya and Fang’s Princess Namaari collide are brilliant thanks to the intense performances from Tran and Gemma Chan, who voices the latter.

Awkafina is one of the most exciting actresses working today and has already shown a wide range through various genres and mediums so it makes sense that Disney tapped her to voice the lovable dragon, Sisu. The design of Sisu is absolutely breathtaking using a wonderful pastel colour palette that is rich in blues which make her stand out visually. Awkwafina’s signature humour and charisma helps Sisu’s personality come forward and elevates the character from a mythical Godlike creature to a more humanised interpretation that feels more relatable. This allows for great moments between Sisu and Raya as the former’s optimism helps drive the latter forward.

The score composed by James Newton Howard takes its inspiration from Southeast Asia and helps to elevate the action. There are some really wonderful pieces such as the solemn melancholic music that plays as Raya’s father is turned to stone and the more upbeat, exciting piece that plays as Raya is chasing a baby around Talon to get the gem back. Howard is one of the most prolific composers in the film industry and can always be relied upon to enhance the viewing experience. Raya and the Last Dragon is no exception. Unlike most Disney films (and Disney Princess films especially), there are no songs in this film so making sure that the music was just as captivating was important so as to keep younger audience’s attentive and driving the story forwards.

Overall, Raya and the Last Dragon deserved a longer cinematic release. A film of such richness and spectacle was a treat to see on the big screen and really allowed the details to stand out. After a year long absence, Disney Animation Studio has come back with a huge hit on their hands that is surely going to find itself on the nomination list of many Best Animated Feature categories when awards season arrives. The world of Raya and the Last Dragon is one that would be wonderful to revisit in the future thanks to the stellar performances from the cast and the writers.

What did you think of Raya and the Last Dragon? Let me know in the comments below!

Raya and the Last Dragon is available to watch on Disney+ now!