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London Film Festival 2021: Wheel of Fortune and Fantasy

It’s an accomplishment for any filmmaker to be able to showcase their work at London Film Festival; however, for Japanese director Ryusuke Hamaguchi, he has two films showing at this year’s festival. With his adaptation of Drive My Car sweeping awards at Cannes Film Festival (you can read my review here), his second film Wheel of Fortune and Fantasy took the Silver Bear Award at this year’s Berlin Film Festival meaning that we are gifted with two exceptional films from the visionary filmmaker. The latter is an anthology film split into three segments centred on women and their lives in modern day Japan. The results are a fantastic glimpse into Hamaguchi’s solid character work and his ability to bring out the magic out of everyday life.

As expected, Hamaguchi’s direction and writing is seamless and organic, proving that he is a filmmaker who isn’t going anywhere. His use of long takes filled with dialogue between two characters can be intense and slow paced but works perfectly for the kind of films he wants to make. His ability to get into the characters’ heads and bring forth their motives in a way that is completely natural while making it seem effortless is exactly why he has been sweeping the awards panels off their feet. Showing the magic in everyday life may seem boring but what Hamaguchi does is create characters who are completely relatable whilst also allowing the audience to build their own interpretations and emotions on top of it. Wheel of Fortune and Fantasy proves his talent for writing well-rounded female characters who have agency and are unaware of their sexuality without objectifying them at any point. He isn’t afraid to be daring in the topics he explores and seems to allow the characters to develop in an unpredictable way.

The film’s first segment is titled Magic (or Something Less Assuring) which follows friends Meiko (Kotone Furukawa) and Tsugumi (Hyunri) as they leave work for the day. The latter is discussing how she has found someone she really likes called Kazuaki (Ayumu Nakajima) who just so happens to be the former’s ex-boyfriend although she doesn’t know this. What follows is an intricate love triangle as Meiko realises she is still in love with Kazuaki and tries to win him back before he gets serious with Tsugami. Furukawa’s performance as Meiko, in particular, is unsettling as we see her discomfort as she realises the situation that has found herself in. Meiko’s encounter with Kazuaki shortly after leaving Tsugumi is gripping and unpredictable with both Furukawa and Nakajima visibly going through a whole spectrum of emotions after their relationship ended negatively two years earlier.

The second segment is titled Door Wide Open and is by far the most explicit and darkest inclusion of the three films. The film centres on Nao (Katsuki Mori) who agrees to seduce a reputable professor, Segawa (Kiyohiko Shibukawa) after the latter humiliates her partner, Sasaki (Shouma Kai), a student who has failed his class. Like the first segment, it appears that there are three pieces of the puzzle moving and this one dives even deeper in terms of its complexity. Segawa is a renowned author and Nao’s method of seducing him is reciting an extract from his book in which there is an extremely detailed sexual encounter between characters. Never taking her eyes off Segawa whilst reading, we see the discomfort in both characters as the tensions rises in conjunction with the sexual tension from the excerpt. Mori’s performance is unapologetically fearless and completely gripping as we see the shift in control change constantly between Nao and Segawa. There are also discussions to be had of the gender constructs in this segment as well. Having a female character read the relentless sexual description of the writing from the male professor gives the former power of the situation, taking it from the professor in a bid to humilate him by using his own words against him.

The final segment is entitled Once Again and follows Moka (Fusako Urabe) who meets Nana (Aoba Kawai) at a train station believing that she was once her first love. Nana is flustered by Moka’s approach and is equally happy to see her. However, it later emerges that Nana isn’t who Moka thought she was and both women had mistakenly thought that the other was someone else entirely. The situation gives a chance for both characters to divulge into past traumas and find an outlet for its release to the other, despite being perfect strangers. Urabe and Kawai work fantastically together and we really feel their genuine connection as the events of the film develop. Even when it turns out that the characters don’t know each other, it doesn’t seem to matter and allows us to delve deeper into their backstories.

The only connecting thread that weaves these stories together is the music which is a light classical number by German composer Robert Schumann. The score is simple and romantic in style, fitting the themes of love perfectly as each woman shows their love in a different way. Even in the scenarios where there are dark undertones or an unhappy ending, the music serves to bring the audience back into the narrative of the film as an anthology and helps to move them along to the next segment. It’s a simple yet effective way of ensuring that these segments have some form of connection and helps to avoid alienating them as three completely separate films. After all, they do serve as a consistent triptych of the female perspective in modern day Tokyo which gives a basic common ground between them.

Overall, Wheel of Fortune and Fantasy may be a jarring view for some due to its anthological narrative but it is a testament to Hamaguchi’s skill as a writer and director that he is able to work with so many different kinds of characters and somehow find the humanity in them, showing that not everything is in black and white or good and evil. With each segment lasting 40 minutes each, we are really able to delve deep into the characters’ psyches and are able to explore their perspective of the world in a short amount of time.

Wheel of Fortune and Fantasy is showing at this year’s London Film Festival!

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No Time To Die (2021)

No Time To Die has finally been released and is no doubt one of the most anticipated films of the year. Marking Daniel Craig’s final outing as MI6 agent James Bond, there has been a lot of excitement for this film to come out and following numerous delays, it was definitely worth the wait. Not only does this film serve as Craig’s swansong to the franchise, but we also get to see a completely different side to the character that we haven’t been shown in the film’s history. Following on from the events of 2015’s Spectre, No Time To Die sees Bond enjoying a life of retirement with Madeleine Swann (Léa Seydoux) before tragedy strikes and he is brought back into the fold as Swann’s life is at stake. The film stars a slew of familiar faces including Jeffrey Wright as Felix Leiter and Ralph Fiennes as M as well as emerging stars such as Lashana Lynch as new 007 agent, Nomi and Ana de Armas as CIA agent, Paloma. The result of which is a film that merges the past and the future of franchise in a way that makes it exciting for what direction subsequent films will take under a new Bond.

The film is directed by Cary Joji Fukunaga who does a fantastic job showing Bond’s inner turmoil as he has to deal with the conflict between wanting to retire and live his life and his moral compass which leads him to follow through with the mission. The script is written by Neal Purvis and Robert Wade who have scripted each Bond film since 1999 as well as rewrites penned by Fukunaga and Phoebe Waller-Bridge. It’s easy to see where Waller-Bridge has added her flawless touch of wit and characterisation as we see the primary and supporting characters in a different light that makes them more relatable and relevant. In particular, we see an emotional side to Bond as he begins to be seen in a familial light and not just a heart-throb who sleeps with every woman he meets. Where Bond has previously completed his missions because it is his job and the right thing to do, he actually has a personal reason to complete this one now.

Daniel Craig’s performance as Bond could arguably be his best because we see this emotional side to the character which gives Craig more to play with than he previously has done before in the franchise. What makes Craig such a memorable Bond is his impeccable delivery and believability in the character which undoubtedly has helped reinvigorate the franchise and push it into the 21st century with ease. As this is his last Bond outing, there is more emphasis on Bond as a character and specifically his interpretation of Bond which means we get to see a grittier and more violent turn of events that rounds up his tenure perfectly.

Léa Seydoux returns as Madeleine Swann and acts as the emotional anchor for Bond. Swann’s character isn’t simply to stand and look pretty, as has been the case of many Bond girls of the past, as she is given complete agency in this film. Realistically, she doesn’t have the same training or fighting skills as Bond which is understandable but we are able to see her fight back in different ways. Seydoux has become renowned for her ability to provide subtly emotional performances and No Time To Die gives her more room to play with than Spectre which is great to see.

It wouldn’t be a Bond film if there wasn’t a Bond villain and in this case, we have Rami Malek as Lyutsifer Safin, a terrorist hellbent on developing and mass-producing a bioweapon that spreads by touch. On appearance, Safin may look like the classic Bond villain but there is an intelligence that this character has that makes him unlike any villain that Bond has come across before, especially Craig’s Bond. What makes Safin such a terrifying character is that he is completely fearless which means that he is unpredictable in his actions whilst also being ruthless and seemingly heartless as well. Where Bond has managed to tap into his emotional side, Safin is incapable of doing so because he is so focused on his tragic past.

One of the main things that characterise a Bond film is its theme tune. With past performers including the likes of Shirley Bassey, Duran Duran and Adele, it was important to recruit a great performer who could capture the magic of the film and there are few artists who are more recognisable today than Billie Eilish. Eilish’s titular song mixes her signature soft vocals with a dramatic backing track that is expected of Bond films. It may seem like an odd pairing at first but the song works perfectly within the tone of the film as there is a melancholic feeling with added cinematic tones underneath. The score is composed by Hans Zimmer who was hired last minute after Dan Romer dropped out due to creative differences and he manages to merge classic Zimmer sounds with a sleek Bond feel. Pieces such as the film’s climactic scene are signature Zimmer with slow strings to draw out the emotion of the scene and allow the viewer to take in the emotions of the character perfectly while the fast action scenes feel inherently Bond and work well within the franchise. Zimmer can always be expected to do a fantastic job no matter what film he is tasked to score but it would have been wonderful to hear what Romer had in mind for the film as he has proven to be a fantastic composer who is destined for greatness.

Overall, No Time To Die is not only worth the wait, but it marks a new direction for Bond as we see 007 in a completely new light that feels exciting and refreshing. Showing that there is space for Bond in today’s world, the film thrusts Bond into modern times by incorporating representation, emotion and a complex character who is more than his well-fitted tux and charm. This is sure to be looked back fondly as a strong point in the franchise and gives Craig the ending that he deserves after a fantastic turn as one of film’s most beloved characters.

What did you think of No Time to Die? Let me know in the comments below!

No Time To Die is available to watch in cinemas now!

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Everybody’s Talking About Jamie (2021)

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

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

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

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

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

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

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

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

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

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Wrong Turn (2021)

There have been countless horror reboots, prequels and sequels released this year that have been taking the industry by storm with some proving to be successful (Candyman) and others not as much (Spiral). Regardless, revisiting classic horror franchises seems to be a way to bring that nostalgia for horror fans. However, whereas some of these films have wanted to go down a different path while still remaining similar to audiences, this year’s Wrong Turn reboot goes in the completely opposite direction. The 2003 original film sees a group of friends hunted down in the West Virginian wilderness by a small group of savage cannibals, this 2021 reboot tells a different story entirely. Boasting a similar initial synopsis, we see a group of young explorers hiking along the Appalachian Trail but this is where the similarities end as Wrong Turn changes up the culprits to incorporate social commentary and bring a new twist to the classic tale. This makes the film completely unpredictable, even to those who have watched the original, as it doesn’t follow the same plot points at all.

The film is directed by Mike P. Nelson and written by original Wrong Turn writer Alan B. McElroy. McElroy completely deconstructs his original story and changes it to something new and timely while Nelson’s direction is raw and unflinching. The result of which is a film that follows the trend of incorporating political discussion while also subverting many clichés often synonymous with this kind of film.

Charlotte Vega is cast as the film’s protagonist Jen, a woman who is unsure what she wants to get out of life. As she makes her way visiting various parts of the Appalachian Trail with her friends, Jen clearly has a desire for adventure but doesn’t know how to translate this into her professional life. Despite being surrounded by her accomplished friends, the film follows Jen as in finding a way out of the horrors, she is able to reclaim her own identity and her sense of self. Vega does a fantastic job of balancing Jen’s sense of dread with her instinctual resilience which is the driving force of the film. An important part of any horror film is making sure you have characters that can push the film along and although Jen’s character isn’t completely fleshed out as well as it could be, it’s enough to show the contrasts between the life that Jen has versus the life that she eventually leads.

Wrong Turn has an incredible support cast that really create an immersive experience and draw you into the community that has formed within the woods. In particular, Bill Sage as The Foundation’s leader Veneble is one of the film’s major highlights. Hellbent on preserving power over the community, Veneble is a great character and Sage clearly has fun with the role. His unpredictability and fearlessness means that he is a character that should be feared.

Another great supporting turn was Matthew Modine as Jen’s father, Scott and as expected, he is great. We are introduced into the film’s narrative through Scott’s perspective so it lies on Modine to draw the audience in. As we see Scott visit the small town and the tensions that arise among the locals, Modine does a great job of portraying a flawed father who is willing to anything for his missing daughter.

Overall, Wrong Turn follows the trends of using horror as a means to explore larger discussions on racial, gender and sexual identity. It is because of this that the film results in an unpredictable and unflinching look into how the setting of the film serves as a microcosm of America as we see the cultural melting pot and the subsequent clashes which often have extra gory results. For those who are unfamiliar with the Wrong Turn franchise, you don’t need to have seen any of the previous instalments as this film does a brilliant job of introducing the viewer into this world. It will be great to see if there are any sequels that follow this particular film’s narrative in the future.

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

Wrong Turn is available to watch on Netflix now!

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The ParaPod – A Very British Ghost Hunt (2020)

As the film industry finds itself being dominated by franchises, prequels and sequels, it’s great to see initiative when it comes to adapting a different form of source material altogether. The Parapod Movie is the first feature length film based on a podcast. The Parapod is a podcast that sees paranormal believer Barry Dodds and his skeptic friend, Ian Boldsworth discuss whether paranormal existence is real. Among the years, they have discussed the paranormal, mysteries and conspiracy theories that cover a wide range of subjects, garnering a huge fan base along the way. As the podcast has grown, making a film seems like a logical step and works really well thanks to the subject.

Directed by its star Ian Boldsworth, The Parapod Movie is centred on a podcasting session between Boldsworth and Dodds who reminisce about the latter’s attempt to convince the former that the paranormal does exist. Travelling to various locations across the UK, the team venture into some creepy locations including the Edinburgh Vaults where Dodds is convinced he sees something. Boldsworth directs in his debut and does a great job of incorporating elements of documentary including interviews with psychologists and journalists whilst also giving the audience a closer look into his friendship with Dodds. Completely honest in his approach, The Parapod Movie mixes documentary and mockumentary.

The film’s stars, Ian Boldsworth and Barry Dodds, are the driving force behind the film and it is their back and forth banter that acts as the engine and propels the film onwards. Even when faced with Ian’s pranks and jokes, Barry is certain of paranormal existence. Due to the documentary nature of the film, we see their friendship tested and even an argument after a prank goes horribly wrong. However, the scariest scene in the film comes when Barry believes he sees something and the look on his face is genuine terror. It doesn’t matter whether there was something there or not but the reaction Barry has was real and makes the audience question what it was. Seeing Ian’s concern for Barry immediately flips the tone of the film and drives it into horror territory.

The first thing that strikes you about the film is the music by Thomas van der Ree. Mixing in elements of horror, the soundtrack works well for the film as it constantly provides a darker undertone, even during the funnier moments. The opening track does a fantastic job of setting the mood and tone as we hear and see jilted footage of Barry’s panic attack. The music also does a great job in threading the film together as it provides a consistency and momentum that works well against the various locations visited.

The editing by Simon Gibbs is really what makes this film a truly great cinematic experience. Gibbs’ use of mixing various camera shots and different kinds of footage makes the film unpredictability and, at times, uneasy to watch. Mixing in scenes of lingering tension with single takes as well as scenes that has uses different disorientating angles to bring across the uncertainty and fear in the scene bring an element of horror to the film in a way that makes any paranormal presence unimportant regardless.

Overall, The Parapod Movie does a great job of incorporating its podcast roots into a cinematic format. Relying heavily on Boldsworth and Dodds’ fantastic partnership, the film is enjoyable to watch and a great treat for fans of The Parapod and equally as thrilling for those who haven’t listened to the original podcast before.

What did you think of The Parapod Movie? Let me know in the comments below!

The Parapod Movie is available to buy digitally from 27th September 2021!

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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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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!

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In the Earth (2021)

When it comes to summer releases, it usually consists of huge blockbusters boasting the latest special effects and massive budgets. However, with so many films seeing a delayed release following the cinema’s closures across the global, we’re starting to see a lot of exciting, experimental films from directors who like to push boundaries. One such film is In the Earth which is Ben Wheatley’s latest offering. Taking inspiration from the isolation of lockdown, the film follows Martin (Joel Fry), a researcher who has to venture through mysterious woods to find his colleague who he hasn’t heard from in months. Guided by park ranger, Alma (Ellora Torchia), unexpected events unfold and turns everything upside down.

Directed by Wheatley and based on a script cowritten by Wheatley and Amy Jump, In the Earth has everything you would expect from his films. There are elements from previous films such as Kill List that find their way into this film but it still maintains a uniqueness and clear identity in its exploration of nature’s relationship with art and science. Astonishingly, In the Earth was written and directed over 15 days making the final result an even more spectacular achievement. All four characters are given plenty of time for natural characterisation that feels authentic thanks to the brilliant script which allows them to breathe and gives the actors lots of freedom.

In the leading performances, we have Joel Fry and Ellora Torchia as Martin and Alma, respectively and they make a great pairing. Fry manages to lead this film with ease and shows another side of his acting range which is a stark contrast to his supporting performance in this year’s Cruella. Martin is a reserved character but Fry adds a complexity to the character and his physical performance, especially when Martin injures his foot, is fantastic. We feel the pain and the frustrations that he goes through. The same can equally be said for Torchia, who is no stranger to horror having previously performed in Midsommar. One of the main highlights of the film, to say that Torchia’s performance as Alma is spectacular is an understatement. As a park ranger, she doesn’t fully understand the research and isn’t afraid to question motivations for further understanding. One particularly terrifying scene is when she attempts to venture through some toxic mist created by mushroom spores which penetrates her hazmat suit and causes severe hallucinations.

Reece Shearsmith and Hayley Squires round out the cast as Zach and Dr. Olivia Wendle who both live in the forest to connect with it with different motivations. Zach believes that the forest wants offerings in the form of art which he does by taking ritualistic photographs whereas Olivia is using her scientific equipment to communicate with the forest using light and sound. Representing two different sides of a spectrum with a common goal, Zach and Olivia will stop at nothing from getting what they want. What makes the film such an effective horror is the shifting dynamics between all four characters. As Martin and Alma struggle to find their way, allegiances begin to change and their hallucinations begin to break them away from reality which makes the forest seem like it is in an entirely different world. Although there are some very gory moments, it doesn’t feel like a horror in the traditional sense but the best thing about Wheatley’s films is to expect the unexpected.

Another frequent collaborator who Wheatley recruited for this film is composer Clint Mansell who knocks it out the park with his simply yet deeply effective score. Like the film, the score jumps in tone and music style to reflect the unpredictability while also clearly being influenced by nature and incorporating the sounds of the forest into the music. The music in the film almost becomes the voice of the forest with the chaotic sounds of disruption juxtaposing with gentler pieces. The forest can equally be viewed as a character in the film and this is enhanced through the brilliant score.

Overall, In the Earth is an incredibly sensory film that feels tight and fantastically paced. By focusing on a small number of characters, Wheatley allows us to become invested and gives plenty of characterisation without making it seem unnatural. What Wheatley does so well is making us feel comfortable in thinking the film is going to go in a certain direction before completely blindsiding us into an entirely different scenario. His ability to merge genres and explore an array of fascinating subjects helps to create films that are completely unique and interpretative which makes the viewing experience individual to the audience.

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

In the Earth is available to watch to cinemas!

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In the Heights (2021)

IN THE HEIGHTS, Anthony Ramos, 2021. ph: Macall Polay / © Warner Bros. / courtesy Everett Collection

One of the biggest releases of the year so far is In the Heights. Based on the stage musical of the same name by Lin-Manuel Miranda, In the Heights follows the community of Washington Heights, a Latin dominated neighbourhood where everyone has dreams and does everything they can to achieve them. The protagonist of the film is shop owner, Usnavi, who dreams of returning to his native Dominican Republic one day and whose shop is hugely important to the community. As we explore the lives of those around him, we see the trials and tribulations that the Latin community faces against many issues including racism, increasing gentrification and basic human rights being compromised. The original stage musical first premiered in 2005 and went on Broadway in 2008, winning a slew of Tony’s and putting Lin-Manuel Miranda’s name on the map. The film is written by Quiara Alegría Hudes who also wrote the original book for the stage musical and directed by Jon M. Chu, In the Heights explores its subjects in a way that feels timeless and just as relevant today as it was back when it was first staged.

Although Hamilton may be the play that Miranda is known for among the masses, In the Heights was his first musical and was a huge success among theatre fans across the world. When listening to the music from both, it’s amazing to think that they were composed by the same man because of how different they are in style and tone. In the Heights is a celebration of Latin music, combining an array of cultural touches with contemporary US hip hop and rap. Each character has their own distinct type of song which gives the audience a sense of their personality. From Usnavi’s unpredictable raps to Nina’s lamenting ballads, each song sounds totally different from the other and yet it flows effortlessly. What is great about this film adaptation is that the songs have been rearranged and altered slightly to naturally fit in with the context of the film. A lot of musical film adaptations forget that film is an entirely different medium and it may not look static and unnatural. Due to the amount of rap and dialogue during the songs, alterations have been made to fit in properly with the medium and it makes it a more exciting watch as you don’t know what to expect. Some of the storylines had been changed as well to take away some negative events such as the looting of the store in order to give the film an overall positive vibe which allows it to work well as a feel-good summer film.

Anthony Ramos leads the film as Usnavi and has big shoes to fill (Miranda originated the role on Broadway) but does so with ease. Although we are getting a broad glimpse of life in Washington Heights, it is Usnavi’s storyline that chugs the film along so it was important to get the casting right. Ramos has more than proven himself capable having previously performed as Sonny on a previous regional tour as well as originating the role as John Laurens/Philip Hamilton in Hamilton. Ramos has a natural presence that makes his Usanvi instantly likeable. Even those who aren’t familiar with the musical will want to root for him and find out more.

In support, there is a great cast who help bring the beloved characters to life. Corey Hawkins and Olga Merediz as Benny and Abuela Claudia, respectively. Benny is Usnavi’s best friend who works in the local dispatch and is highly energetic with big dreams to become a successful businessman and someday run the dispatch himself. Hawkins brings that enthusiasm and charm needed as well as nailing the song “Benny’s Dispatch” which has a really difficult rap but he does this with ease. The friendship between Benny and Usnavi feels completely authentic and it’s clear that the actors had a great experience performing together. One of the original cast members on stage was Merediz who reprises her role as Abuela Claudia for the film. Claudia is the glue that holds the community together and her motto “Paciencia y Fe” is something that the community lives by, as well as being the name of her big number. The song follows Claudia’s life as a young girl from Cuba moving to New York with her mother and how they learned to adapt and survive in a completely different world. The sequence itself is beautifully directed and is one of the best numbers in the whole film. It is then followed by my personal favourite song, “Alabanza” which I think is one of the most beautiful songs in any musical and for the emotions of the song to come through, it relies on the influence of Claudia among the community and you’ll surely be in a lot of tears.

In the Heights is a phenomenal achievement that deserves to be shown on the big screen. Chu manages to replicate that vibrancy and spirit of the Washington Heights community and inject it with bold direction and stunning use of camerawork and colour. With a couple of Miranda related Easter eggs hidden in the film, it’s sure to be fun for theatre and film fans alike. A particular highlight is seeing Miranda play the role of Piragüero known fondly as the Piragua guy and his rivalry with the Mr. Softee Truck Driver who is played by Christopher Jackson (who originated the role of George Washington in Hamilton). Whether you are a fan of musicals or not, the story and its message are sure to resonate with you and leave an impact long after the credits have finished rolling.

What did you think about In the Heights? Let me know in the comments below!

In the Heights is available to view in cinemas now!

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A Quiet Place Part II (2020)

One of the biggest horrors to be released this year is A Quiet Place Part II which has been deemed a precursor to the state of cinema following the reopening of cinemas around the globe. Like its predecessor, A Quiet Place Part II is written and directed by John Krasinski. Following the remaining members of the Abbott who aim to reach a fellow survivor’s hideout. With Emily Blunt, Millicent Simmonds and Noah Jupe returning as the Abbott family and Cillian Murphy and Djimon Hounsou joining the franchise as survivors. A Quiet Place Part II sees a more expanded world where the creatures have taken hold and follows on directly from where the last film left off whilst also giving insight into how the apocalypse began.

Directed and written by John Krasinski, A Quiet Place Part II seeks to give a wider view of this universe than its predecessor and opens with a flashback that takes place on the day of invasion before shooting back to the moment where the events of the first film ended. Due to the death of Krasinski’s character in the first film, he is only onscreen during the flashback sequence but then is able to commit fully to direction for the remainder of the film. This helps enormously, especially as we are introduced to new characters whilst also seeing the development of returning characters. Like the first installment, this film is highly impressive in its script and has the perfect balance of horror and drama as it gives the leading characters a fully rounded arc, especially Regan (Millicent Simmonds) who aims to be more active and independent in her search for a solution.

As expected, Emily Blunt is fantastic as Evelyn and proves that she can lead this film with ease. An actress who has acted flawlessly across many genres and with A Quiet Place bringing her a SAG Award, Blunt ups the ante in this sequel. Bearing the weight of familial responsibility solely on her shoulders following the death of her husband, Evelyn tries to find safety through any means possible for her children. However, just as it seems that Evelyn is the only one capable of taking care of her family, daughter Regan shows that she is more than capable of fighting off the creatures as well. Millicent Simmonds proved herself as a fantastic newcomer in the first film and only grows more as an actress in this film. Captivating and gripping, Simmonds’ performance is impeccable and hopefully is the sign of a long lasting career in film beyond the franchise.

In support, we have Cillian Murphy as Emmett who is the survivor that the Abbott family have been searching for. Initially reluctant to let them stay for fear of being found and killed, Emmett begins to open up and finds himself helping the Abbott family find supplies for Evelyn’s son, Marcus, who is injured on the journey. Whilst the characterisation of Emmett isn’t as organic as it could be, Murphy brings a great performance and having already had experience in horror films like 28 Days Later, he makes a great onscreen pairing with Simmonds. Another great supporting turn comes from Djimon Hounsou who makes a welcome appearance later on in the film. As we can expect from Hounsou, his performance is controlled as he leads a survivors’ colony that has found a solution.

In a film where the characters are forced to live in silence, the score is the only sound we have to convey the emotion and intensity of the scene. Marco Beltrami returns to compose the score for this sequel and it feels like an extension of the previous installment’s sound. With the score starting out extremely quiet and gradually building in intensity and volume as the film begins to unfold, the music becomes as much of a character without being onscreen. The score alone could play alongside the film and still bring that horror and characterisation that the script provides.

Overall, A Quiet Place Part II is just as good as its predecessor and shows Krasinski’s strength as a writer and director. Allowing the world to gradually expand and introducing new characters while allowing existing characters to develop in their own right makes A Quiet Place Part II a rather packed film but its impeccable pacing and gripping direction grabs your attention and allows you to become immersed in the world and invested in the characters. The only thing left is waiting for a third film to round up this trilogy.

What did you think of A Quiet Place Part II? Let me know in the comments below!