Tag: music

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Review

Nashville (1975)

You know that feeling when you watch a film and it resonates so deeply that you find yourself watching it again almost immediately after the end credits roll? That was my experience watching Robert Altman’s masterpiece, Nashville.

“This isn’t Dallas, it’s Nashville!”

Set in the titular city, the film follows the lives of 24 people who are involved in Nashville’s music and political scene as the omniscient Hal Phillip Walker (voiced by Thomas Hal Phillips) campaigns for the fictitious Replacement Party. Made in what is now viewed as one of the best years in cinema history, Nashville showcases an incredibly vast yet meticulous microcosm of contemporary American life during a time of political and social conflict.

Robert Altman is regarded as one of cinemas greatest visionaries and Nashville is often used as reference to support this statement. His documentation approach acts as a doorway for the audience to grasp the hysteria and buzz without ever feeling alienated. Jean Tewkesbury’s phenomenal script feels so natural, weaving from one scene to the next with an effortless ease that despite the large ensemble, never feels exhausting. This is a film where so much happens and yet, it seems as if nothing happens at all because it is a true slice of everyday life.

One of things that makes Nashville so unique is that it has 24 fully-realised characters. Some characters are more prominent throughout the film than others, but the richness in each performance makes it even better with every watch. Ronee Blakley’s turn as vulnerable country singer, Barbara Jean, shows a darker side to the entertainment industry as she is treated like a commodity by those around her. We see her mental fragility waver and spiral, culminating in a scene that shows a conflict of identity as Barbara disrupts her own gig to regale memories of her upbringing and the passion she had for music as a child. In this heart-breaking scene, we see the “real” Barbara Jean trying to surface and literally have a voice, but this is quashed by the heckling audience who want to see country music’s sweetheart with her manufactured public image.

My favourite scene in the film takes place during an open mic night where we see folk trio Bill, Mary and Tom (Allan F. Nicholls, Cristina Raines, and Carradine) perform “Since You’ve Gone”, a song that perfectly captures the underlying tension between Tom and Mary, the latter being heartbroken by the former. The frustration and anger in Raines’ performance compared with Carradine’s neutral demeanor displays the emotional investment each had in their brief affair, all while Bill (who is Mary’s husband) plays on, clearly sensing the friction between his bandmates. This is swiftly followed by Tom’s Oscar-winning song, “I’m Easy”, which is a crooning ballad he wrote just to get the married gospel singer Linnea (Lily Tomlin) to sleep with him.

So, what is it about a film so intrinsically observational on American life that resonates with this Scouse-Welsh (Scwelsh?) blogger who has never even been to the capital of country music? Despite the film’s specific time and place, the themes and messages are universal. We know vulnerable people like Barbara Jean, dreamers like the heartbreakingly talentless yet determined Sueleen Gay, and straight shooters like Wade who are disillusioned by the glitz, glamour and promise. It’s the naturalistic storytelling that makes Nashville such a pioneering piece of filmmaking and one that has stood the test of time for better and for worse. Seemingly set in its own universe, the ties to reality are planted with anecdotes on the Kennedy assassination (Barbara Harris delivering an exquisite monologue), and the Vietnam War.

Nashville is arguably the quintessential American film, capturing the aspiration and downfalls of the American Dream and one’s battle to succeed. Universally, it is a poignant display of the human condition and everyone should watch Nashville at least once in their life. It’ll make you laugh and cry in equal measure while also bamboozling you in its unflinching ambition. Altman’s seminal masterpiece has certainly earned its place among the echelon of filmmaking.

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Review

Oppenheimer (2023)

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

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

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

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

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

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

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

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

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

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

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

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Review

The Holdovers (2023)

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

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

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

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

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

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

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

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

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

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Review

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

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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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

Perfect Blue (1997)

There are plenty of iconic anime films that have been released throughout the years. From the fantasy worlds created by visionary Hayao Miyazaki to Mamoru Hosoda’s brilliant coming-of-age stories, anime has always been an excellent medium within film for storytelling. One such pioneer of the medium was the late, great Satoshi Kon whose directorial debut, Perfect Blue was released 25 years ago this year. The film showed that anime is not just for children and made way for anime content that was catered for adults thanks to its gruesome violence, explicit nudity and mature themes. Perfect Blue follows Mima, a young woman wanting to make the transition from pop idol to mature actress. As she begins to take on more adult roles and gives her public image a makeover, Mima’s life starts to unravel as she deals with a stalker who is hellbent on ensuring that she maintains an innocent image.

The film was directed by Satoshi Kon and written by Sadayuki Murai who based the screenplay on Perfect Blue: Complete Metamorphosis by Yoshikazu Takeuchi. Satoshi Kon directed four films before his death in 2010 with Perfect Blue marking his debut and what a debut it is. The film is a complex look into the psyche of protagonist Mima as she begins to lose grip on reality as an imposter threatens to steal her identity. Kon’s unflinching approach has made Perfect Blue a staple, not only in animation, but in the psychological thriller genre as well. It is a visceral look into societal expectations placed on women and how that pressure to conform can have tragic consequences. Murai’s script is fast-paced while also providing plenty of scope for various factors to mesh and contribute to Mima’s eventual mental health deterioration. Kon’s gritty vision helps to list Murai’s words off the page, resulting in a brilliant film that feels both of its time and deeply relevant simultaneously.

Perfect Blue can be defined as a character study into its protagonist, Mima. Junko Iwao voices Mima and does a brilliant job of conveying the trauma and horror that the character has to endure throughout the film. Mima starts the film with a higher pitched tone to convey her innocent image that coincides with her pop idol career, but as the film goes on, her tone and attitude becomes more authentic and real as her life spirals downwards. Iwao perfectly captures the wide spectrum of emotions that Mima feels throughout. Mima is such an intriguing character and Iwao contributes to this. The idea of the pop idol and image is one that is especially monitored in Japan moreso than the majority of countries and seeing the extent of obsession for the fame and attention that Mima has makes for truly frightening viewing.

As with any film, the supporting characters are equally important. In particular, Rica Matsumoto’s contribution as Mima’s agent, Rumi, is brilliant. Rumi is a former pop idol herself and her obsession with Mima and her career shows how she longs for the life that Mima has, but isn’t willing to move on with her own life. Matsumoto’s performance is tinged with hints of longing and sadness throughout as Rumi clearly disapproves of the direction that Mima’s life is going in.

One of the best elements in the film is the music composed by Masahiro Ikumi which elevates the emotions felt by Mima throughout. As Mima begins to become disconnected and suffer from dissociative identity disorder just as her character does on the TV show she is in, the music begins to reflect this as the tracks become more chaotic. The track “Virtua Mima (Voice)” is especially haunting and its repetition drums in the confusion and terror that Mima is feeling. It’s a soundtrack that is essential to the overall film and helps to make the film as iconic as it is.

What makes Perfect Blue so gripping from start to finish is the editing by Harutoshi Ogata. Ogata does a fantastic job with the editing as he frames the film like a live-action psychological thriller featuring quick cuts to highlight the protagonist’s confusion and disconnection from reality. There are also longer scenes that make for uncomfortable viewing such as the scenes in which Mima is filming a scene for a television show in which she is victim of a sexual assault as well as the iconic chase scene that comes later on. The latter example has become synonymous with anime horror and it’s easy to see why. Ogata’s editing of the chase scene is one of the most eerie and frightening scenes without containing a huge amount of violence when compared with the rest of the film.

Perfect Blue has garnered a reputation over the years due to its explicit content and exploration into mature themes, while still remaining a gripping watch that boasts brilliant storytelling. Kon may have only made four films, but each one shows his immense talent as a filmmaker and Perfect Blue is a fearless glimpse into fame and the dangers of being a familiar face among a public that can easily hide. Despite the dated technology used in the film, Perfect Blue feels even more relevant now as social media has become even more commonplace. Not for the faint of heart, Perfect Blue should be on every film lover’s “to watch” list if they have not already watched it before.

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

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Review

X (2022)

A24 have established themselves as mastered of horror over the years and they show no signs of slowing down with the release of X, a film that incorporates elements and homages to traditional slasher films such as The Texas Chain Saw Massacre. The film is set in 1970s Texas and follows the cast and crew of a pornographic film, led by the ferocious leading lady, Maxine (Mia Goth) and her producer boyfriend, Wayne (Martin Henderson). When the group arrive at their barn filming location, it becomes clear that the old couple who own the main house are not quite what they seem and what follows is a slew of gruesome murders and violence galore.

The film is written and directed by Ti West, who has become prolific within the horror world. West definitely has a brilliant eye for direction as X thrives on the distinct vision that beautiful style that serves as a homage to previous Texan horrors, while also subverting the tropes associated with such films. Protagonist Maxine is the perfect example of this as she is unashamed in her sexuality, while also displaying a fearless attitude, a polar opposite description of many female horror protagonists that have come before her. The biggest trope that West seeks to explore is the morality of sexuality. For decades in horror, sex has equated to death for many characters, namely in horror franchises such as Friday the 13th which is full of young people who are slain, typically after engaging in sexual activity. West uses X as a means to discuss this topic and question whether sexuality is morally wrong and what that means. West is undoubtedly an extremely talented writer and has a brilliant way of blending different types of personalities in a natural and engaging way. However, with X, the downside is in the motivation of the film’s villains as it isn’t delved into that much, and what information we are given doesn’t seem to be believable or understandable considering what actions they commit throughout the film. It is such a shame as providing a better backstory with more meaning behind the old couple would bring X to the level of other modern horror masterpieces such as Jordan Peele’s genre-defining Get Out.

With such a heavy emphasis on its lead character, Maxine, it was imperative that West cast an actor who is more than capable of pulling off a layered performance with ease. Mia Goth is the perfect choice, as she has been an integral part of the horror genre for years with supporting turns in films like Gore Verbinski’s A Cure For Wellness, Luca Guadagnino’s remake of Suspiria, and Clare Denis’ High Life. What makes Goth such a brilliant actress is her ability to adapt to any role. Although she has become a staple in horror specifically, the films themselves could not be any more different in terms of characterisation and style. In X, Goth is able to further showcase her range as aspiring pornstar, Maxine. Maxine believes that she is destined for fame and fortune and is willing yo do whatever it takes to get there. Goth is nothing short of phenomenal, and even with the shortcomings of the script, the audience still wants Maxine to succeed in thwarting the killer’s plans and wants her to stop them. X gives Goth the leading role that she deserves after years of being placed in support and it is a credit to her talent and range that she has been able to breathe life in such a fantastic character that has plenty of agency.

While this is definitely Mia Goth’s film, X also boasts an incredibly impressive cast with Brittany Snow and Scott Mescudi in particular providing excellent turns as pornstars, Bobby-Lynne and Jackson. Both make use of the time they have onscreen and West relies on Snow’s beautiful vocal talents as she provides a great rendition of Fleetwood Mac’s “Landslide” in a scene that brings unity and peace for the group before tragedy unknowingly befalls them. Mescudi is charismatic as Jackson and has one of the most intense scenes in the film as he helps Howard (Stephen Ure) look for the latter’s wife, Pearl.

One of the film’s strongest elements is the cinemtography by Eliot Rockett. Inspired by porn films and slasher films of the 1970s, Rockett brilliantly incorporates vintage style filming when it comes to shooting the pornographic scenes. It brings a layer of authenticity and allows the audience to feel immersed in the world that West has created. The heavy use of blood is also contrasted with the minimal, natural landscape that surrounds the barn and the use of minimal locations allows Rockett to create that feeling of claustrophobia and entrapment for the audience.

X is certainly innovative and distinctive in its style and characterisation, but at times this comes at the cost of the plot and villain motivations which doesn’t come across clear or believable. However, it cannot be denied that Mia Goth is an absolute tour de force and is truly one of the best actors working in the horror genre. Showing her ability to lead a film and keep the viewer gripped, Goth’s performance is filled with grit, fearlessness and a depth that has come to define the roles she plays.

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

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Review

Summer Ghost (2021)

I was fortunate enough to cover this year’s Cardiff Animation Festival and was able to watch an array of films (over 100 in fact!). One of the highlights was loundraw’s debut, Summer Ghost which has a non-traditional running time of 40 minutes meaning that it can be considered either a long short film or a short feature film depending on your point of view. The film follows three struggling teenagers Tomoya (Chiaki Kobayashi), Aoi (Miyuri Shimabukuro), and Ryō (Nobunaga Shimazaki) and their investigation into a local urban legend called the Summer Ghost, a young girl who was rumoured to have killed herself who can be summoned when lighting a firework at an abandoned airfield. When they come face to face with Ayane (Rina Kawaei), the Summer Ghost, the group tries to figure out the truth about Ayane’s death, so she can find peace and move on.

The film marks loundraw’s directorial debut and is based on a script by author Hirotaka Adachi who incorporates many elements seen throughout his bibliography. The first thing that you notice about Summer Ghost is how strong the style of the film is. It’s clear from the beginning that loundraw has a distinct style, while the writing isn’t afraid to venture into mature topics such as mental health, specifically struggles with depression and suicide. Due to the film’s 40-minute running time, there are some characters who are given more characterisation over others as loundraw has more interest in Tomoya and Ayane. This isn’t to say that we aren’t given insight into Aoi and Ryō’s characters at all as we learn about their individual struggles, but there is more emphasis placed on the friendship between the protagonists and their times spent together. The plot of Summer Ghost is fairly straightforward and linear, but isn’t afraid to blur the lines between reality and the supernatural, allowing the audience to escape within the magic of the film’s world.

The film consists of four major characters so finding the right actors to voice them was crucial, especially since Summer Ghost delves into darker themes. In particular, the voice acting provided by Chiaki Kobayashi as protagonist, Tomoya and Rina Kawaei as the titular ghost, Ayane are extremely strong with the latter proving herself to be the perfect choice for Ayane. They manage to bring life to their characters and perfectly put across the complex emotions that these characters feel through the duration of the film. The scenes in which Tomoya and Ayane spend time together without the others feels extremely intimate and secret with Kobayashi and Kawaei conveying great chemistry for the characters, so the audience believes that they have an organic and natural friendship, despite the short amount of time that we see them spending together.

The soundtrack composed by Akira Kosemura, Itoko Toma, Guiano, and Hideya Kojima perfectly conveys the fantastical elements of the plot as it incorporates whimsy, especially in the scenes when we are first introduced to Ayane and when Tomoya first flies. The composers treat Summer Ghost as though it were a feature with his score as he allows the tracks to become loud and powerful, bringing forth the characters’ feelings during the unspoken moments. There is a contrast between the tracks that accompany scenes that take place in the “real world” and those that accompany supernatural scenes as the former seem to feel more standard and repetitive as though to exaggerate the repetitive nature of everyday routines, while the supernatural tracks are more unpredictable and whimsical in their sound. Despite having four different composers working on the film, the soundtrack works well when put together as it shows the complexities and differences between the characters and their individual perspectives.

Summer Ghost may have a non-traditional running time of 40 minutes that teeters between short film and feature film length. However, this doesn’t take away from Adachi’s beautiful script and the vivid visuals as loundraw makes use of every single second. Whether loundraw decides to revisit the world of Summer Ghost for a feature-length project in the future or decides to leave the project as is, it’s clear that he has a firm place in the future of anime and is a voice and visionary to watch out for as his studio, Flat Studio begins to develop even more projects.

You can read my write-up on Cardiff Animation Festival here.