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Spiral (2021)

The latest film in the Saw franchise is not your regular run-off-the-mill sequel. Spiral, otherwise known as Spiral: From the Book of Saw, is the first film in the franchise not to feature Tobin Bell as the iconic killer, Jigsaw, beyond a photograph. Whereas Jigsaw gave people a chance to renew themselves through ways of torture, a new copycat killer makes their way through a local police department to exploit the corruption within the system in the hopes it will shake the department to their core and create change. Starring big names such as Chris Rock and Samuel L. Jackson with a great supporting turn from Max Minghella, Spiral breathes new life into the Saw franchise. The films follows Detective Zeke Banks (Chris Rock) who has to figure out the identity of a mysterious killer who appears to be a Jigsaw copycat alongside his new partner, Detective William Schenk (Max Minghella). Zeke also has to deal with the fractured relationship with his father, Marcus (Samuel L. Jackson) who is a retired chief and whose achievements have cast a long shadow over Zeke’s.

Directed by Darren Lynn Bousman who has previously directed Saw II, Saw III and Saw IV and based on a script written by Josh Stolberg and Peter Goldfinger, Spiral has received reviews ranging from the best Saw sequel to the worst sequel. One of the major factors of any Saw film is the traps and the traps in this film are very impressive incorporating some of the most gruesome horror in any Saw film. The opening trap in particularly will have you at the edge of the seat and gives the film an incredibly strong start. There is also a strong foundation story that Spiral brings as well as strong characterisation for the main character with the option to develop the story further. Past Saw films have explored various systems in the past such as Saw VI which follows an insurance executive who is forced to make a series of judgements using the methods applied in his work. What Spiral does is point the finger at the police department specifically as the officers are picked off one by one.

Chris Rock may seem an odd choice for a horror film since he mainly acts in comedies but he shows his dramatic range in this film while also bringing in his signature charisma. His character Zeke is torn between doing the right thing morally or following the corruption and cover ups applied by his colleagues. It seems that this conflict is apparent in his personal life too as he is undergoing a divorce while also being refused visitation to his child. The job clearly has taken over his life and it’s interesting that we don’t see any solution to this. Zeke has an incredibly strong moral compass but he is willing to do anything in order to break the case, even if that means covering up for Marcus when he is suspected of being the killer because he has a hunch that that’s not true.

In support, Max Minghella is great as Detective Schenk who is new to the job. Minghella has long been an underrated actor but he is a great choice for this role as his calm presence opposes Zeke’s frantic nature. The two seem like complete opposites but it turns out that they have a lot in common and the dynamic between them works. It would be great to see a Spiral sequel to see how Minghella’s character is developed even further as he doesn’t get as much screen time as expected. Samuel L. Jackson plays a small part in this film and it’s a great turn that contrasts with what we are used to seeing from him. As Chief Marcus, Jackson is a character who has helped lead a corrupt police department but he doesn’t see it that way. Compared with a lot of recent performances, Jackson’s turn as Banks is a lot more subdued than expected but still packs a punch, especially in the final act of the film.

One of the most iconic aspects when it comes to the Saw franchise is the music. It’s hard to think about Saw and not have the main theme playing in your head. Charlie Clouser returns to score Spiral and it’s a great soundtrack. It’s important to remember that this film is a spin off from the Saw franchise and Clouser does this perfectly in his score. Remixing tracks from the previous Saw films to differentiate the franchises, Clouser’s score feels more modern and up to date in style while also harking back to the nostalgia that comes with the first Saw film.

Overall, Spiral is a great little film that makes its mark in a way where it doesn’t feel tacked on. Not bringing back Tobin Bell was a smart move as it allows the film to make its own rules while showing that this is a completely new era. It would be great to see if they make any more Spiral films and see how they further this story and distinguish the new killer. There may be connections between the new killer and Jigsaw that are revealed in the future but in the meantime, Spiral is a strong start to this new franchise while also bearing some of the trademarks of the Saw franchise.

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

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BFI Flare Festival 2021: Tove

Another film that I was especially keen to watch at this year’s BFI Flare Festival was Tove, a biopic about Tove Jansson who is known as the creator, author and illustrator of the Moomin book series. Directed by Zaida Bergroth from a screenplay, written by Eeva Putro, the film follows Tove (Alma Pöysti) and her life before and during her success as an artist. Her turbulent career as a traditional artist and her reluctance to follow in her father’s footsteps brings in a lot of initial problems. A chance encounter with aristocratic theatre director Vivica Bandler (Krista Kosonen) at a gallery opening sparked a love affair between the two women and a friendship that would last through their lifetime. Tove was entered by Finland for the Best International Film Award at the upcoming Academy Awards but sadly did not make the shortlist. This is such a shame as it is a very strong film that deserves to have a wide audience.

Zaida Bergroth’s direction is brilliantly as we become immersed into Jansson’s world at the end of the Second World War. With sole focus on Jansson, there are no scenes in which she doesn’t grace the screen ensuring that the audience really is seeing the world through her eyes. The screenplay by Putro is beautifully paced and gives an in depth glance into one of Finland’s famous figures. Tove is a film that doesn’t force the events to happen to its protagonist but simply let them happen naturally as the film unfolds. Feeling natural and authentic, the minimalistic approach has sprinkles of absurd moments such as the first moment of the film where we see Tove dancing to jazz music by herself. This film paints the perfect picture of an author who has inspired and captivated many throughout the world.

Alma Pöysti’s performance as Jansson is fantastic and reminded me a lot of Marion Cotillard’s performance as Edith Piaf in La Vie en Rose in that she drives the film and elevates the whole experience. Pöysti is captivating from the very first second you see her onscreen to the last thanks to her layered characterisation that showcases her inner conflicts with both her art and personal life. There is no doubt that Jansson was most comfortable when able to express herself how she wants and so she surrounds herself with the people and art that are going to allow her to do this. Blasting jazz music and working tirelessly on her Moomin universe, Jansson seemed to be an otherworldly creature and Pöysti pulls this off. Pöysti doesn’t overplay the character nor does she force the emotions to come to the surface. What makes her performance so special and unique to watch

Krista Kosonen is great in support as Vivica Bandler, the woman who stole Jansson’s heart. Initially paying for Tove’s services to design a party invitation, the relationship between the two women quickly evolves to a romance that becomes turbulent over the years. Kosonen is a great onscreen partner for Pöysti and the scenes between them are filled with tension and chemistry. Whereas Tove is more introverted and working endlessly on being accepted by the City as a certified artist, Vivica is extroverted and confident in herself. Initiating the relationship with Jansson, Bandler’s portrayal is one of manipulation and mixed signals as Jansson doesn’t know what to expect when she next sees her. Kosonen portrays Bandler as hard to read and unpredictable and the status of their relationship propels the film’s events forward as they work together on adapting the Moomins for the stage.

One thing that stood out to me in this film was the score and soundtrack. The original score composed by Matti Bye is beautiful and unpredictable and reminded me a lot of Jonny Greenwood’s score for Phantom Thread. Bye’s score works so well as it reflects the turbulence and conflict Tove is feeling and rises it to the surface. The classical sound contrasts with the soundtrack choices which contains a lot of jazz music. This chaotic mix of classical and jazz only serves to highlight Jansson’s own position as a child of prominent, traditional artists whilst also remaining progressive in her style and refusing to conform who live to the expectations set out for her.

Overall, Tove is an exceptional film that does a great job of showing Tove’s struggle to be seen in an industry that is dominated by men that also rely on the traditional aesthetics. Tove is often known for her work on the Moomins and while this aspect is shown in the film, the central focus relies on Tove as a person first. Pöysti’s performance is fantastic and should be discussed widely as it is a true tour de force. She becomes Jansson and pulls it off with ease that we forget we are even watching a biopic.

Tove is showing at this year’s BFI Flare Festival.

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I Care a Lot (2020)

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

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

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

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

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

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

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

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

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Malcolm and Marie (2021)

One of the most hyped films to be filmed and released made in lockdown, Malcolm and Marie is a minimalist exploration of one couple’s relationship as they descend into an evening of real time arguments.

This Netflix film stars John David Washington and Zendaya as the titular characters and starts with the couple returning home after Malcolm’s film premiere. It soon emerges that he has forgotten to thank Marie in his speech and the night transitions from one argument to the next spanning conversations on their relationship their backstory and the film industry as a whole. Written and directed by Euphoria creator Sam Levinson, Malcolm and Marie has become a huge topic of discussion thanks to the polarising opinions shared by critics and audiences alike with some people loving the film and others disliking it.

One of the most controversial factors that has been discussed and debated is the script. Some people have claimed that Levinson uses the actors as a mouthpiece for his own opinions on the film industry. I am not sure whether I agree with this sentiment or not but I do find the script overwritten at times. As the film plays out in real time and brings a minimalistic and realistic approach to the portrayal of the relationship, the script feels disingenuous at times. There comes a point where it feels as though the monologues become soliloquy as the characters seem to ramble off on tangents that completely detract from the focus of the film. Even if this is the intent, it does feel unnecessary and it’s important to bear in mind that writing for the screen is a different medium to real life conversations so making sure you edit the conversations will make everything tighter and more cohesive.

Levinson’s direction makes good use of the limited location space. Solely taking place in the house and grounds, we get to know the space and feel the claustrophobia that Marie, in particular, feels at the hands of Malcolm. Despite the limited resources due to the pandemic, Lenvinson becomes creative with his shots and way of filming and creates a film that has a lot of aesthetic intuition and beauty. When you consider the conditions in which the film was made and the restrictions enforced meaning a smaller crew and limited space, it’s a big achievement that Levinson manages to create an visual impact. The choice to shoot in black and white was also a smart choice as it makes the space feel separated from reality.

Zendaya is great as Marie and proves that she can really shine on the big screen as well as the small screen. After her Emmy-winning turn in Levinson’s Euphoria, it makes sense that the two would collaborate. Marie is not afraid to call out Malcolm for his destructive and abusive behaviour, questioning whether his filmmaking would be as good if she wasn’t in his life. As the film goes on, we begin to see just how much Marie brings to Malcolm’s life. With her words, she breaks down everything Malcolm is to the point where every word and action he has made and is able to assert herself when Malcolm tries to dismiss her as nothing more than another person in his life.

Upcoming star John David Washington stars as Malcolm in a role that feels a bit wasted of Washington’s talents. It feels as though all the energy was put into Marie and her development whereas Malcolm’s character doesn’t feel as elevated or explored to the same extent. I think that a lot of my issues with the script lie with Malcolm’s monologues more than Marie’s because his point of view is littered with exposition. I understand that with the limited location and filming resource that backstory has to be shown through the dialogue but Malcolm is a character that feels a bit too over the top. It gets to the point where he becomes a caricature and it’s easy to switch off when he is taking because he rambles on. Washington does the best with the script but unfortunately the character doesn’t grab your attention in the way that Marie does.

The music by Labrinth is beautiful with hints of Jazz and RnB. Following his Emmy-winning music for Levinson’s Euphoria, his distinct and brilliant sound that fits in perfectly and becomes synonymous with the aesthetic of the film. Just as the house is full of character, so is the music. Perfectly blending different genres to show the clash between the protagonists’ points of view, the score and soundtrack is unique and keeps the film running smoothly even when the script becomes overbearing at times.

Overall, Malcolm and Marie deserves credit for its innovative filmmaking and achieves a lot despite the limited resources, cast and crew. With only two characters in the whole film, Levinson manages to make this minimalist film look visually stunning and delves into their characters in such a way that is rarely done. The writing is it’s weakest area but the scenes in which the dialogue is tight, the actors are able to really shine, especially Zendaya who is phenomenal and proves herself to be one of the new Hollywood leading ladies for a reason. Malcolm and Marie is worth a watch for its interesting approach as well as its incredible soundtrack.

What did you think of Malcolm and Marie? Let me know in the comments below!

Malcolm and Marie is available to watch on Netflix now!

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The Dig (2021)

As awards season lingers on the horizon, more and more films are being released with the hopes that they will be successful come trophy time. One such film that has snuck onto the scene and made a big impact is Simon Stone’s period drama The Dig. Based on the 2007 novel of the same name by John Preston with a script written by Moira Buffini, The Dig follows the 1939 excavation at Sutton Hoo which is often regarded as one of the most significant excavations in history. Taking place on land owned by Edith Pretty (Carey Mulligan) and with a team led by archaeologist Basil Brown (Ralph Fiennes), the discovery of an Anglo-Saxon ship filled with gold and other precious items brings hope to the community contrasting with the context that Britain will soon be at war.

Stone’s direction is beautiful and poetic, making the most of the natural landscape that encapsulates the film. Immersing itself in the surrounding countryside, we never really leave the estate grounds with the exception of Pretty visiting a doctor in the city and Brown going home. Just as the group’s obsession with their findings begins to physically and emotionally change the land, the audience becomes equally familiarised as we see the progression of their work. Stone isn’t interested in the actual treasures found but the people who find them and how they are changed by their experience.

The script written by Moira Buffini takes a while to find its feet but once it is grounded, it begins to flow nicely. The first 20 minutes see a lot of seemingly significant events that lead up to the initial discovery of the ship without really getting to know the characters. However, it is actually through excavating the ship that we see the characters challenged and tested beyond their capabilities. There has been some controversy regarding the portrayal of the female characters which is worth noting. At the time of the film’s events, Edith Pretty was around 56 years old whereas Mulligan is two decades younger. However, I am glad that they didn’t attempt to make her look older through make up as that would have been too distracting. The main issue is with the characterisation of archaeologist Peggy Piggott (Lily James). Piggott is portrayed as clumsy and aloof with no real expertise of archeology, however, she was a respected member of the archeology community at the time of the film’s events. I am not sure why the decision was made to make Peggy like this or why a fictional love affair was written in but it would have been better if Buffini had stuck to a more factual portrayal.

Ralph Fiennes is fantastic as excavater Basil Brown. A quiet and observant man, Brown is clearly passionate about his work and although he does fight for better pay, it is clear that he does not request a huge financial reward for his findings. As can be expected, Fiennes is brilliant and the film is lifted on his shoulders. His performance stops the film from becoming generic and boring as his character is the audience’s way in to this world of affluence and exclusivity. Whereas the curators who work in the museums only care about the treasure and getting the credit and profit, Brown wants to ensure the integrity of the excavation process itself. Coming from humble beginnings and trained by his own father, archeology and excavation is something that Brown had an incredible affinity for. Even though Fiennes isn’t onscreen a lot of the time, especially in the second half of the film, his presence is always felt because of the influence he had over finding the ship.

It’s clear that this is Carey Mulligan’s time to really shine as she delivers a wonderful performance as Edith Pretty. Although Pretty was two decades Mulligan’s senior at the time of the film’s events, Mulligan makes the most of the role and really shows Pretty’s struggle in a way that feels completely believable. Within moments, you forget about the age indiscrepancy. Through the duration of the film, it becomes clear that Pretty is suffering from an unknown illness that can cause issues with her heart should she find herself in overwhelmingly stressful situations. As the excavation begins to unearth the treasures in the land, Pretty’s illness becomes more severe and debilitating as though she is part of the land herself. I would have loved to have seen even more scenes with Pretty in her role as a landowner and the pressures she faced from the museum curators but Mulligan still pulls it off. Naturally she is garnering more attention for Promising Young Woman which is by far her standout performance and career best but her turn in The Dig is not one to be missed.

The score by Stefan Gregory is impeccable and provides a beautiful and classic backdrop to the film. Not overshadowing the onscreen activity, the score is subtle and quiet but once you notice it, you can’t help but pay completely attention to it. Simple and peaceful, the score captures the serenity that the countryside brings despite the war that is looming in the distance. The final scene in which we see Brown and his team filling the mound feels more prominent thanks to the reflective music that highlights the trials and tribulations of the excavation.

Filled with a flurry of familiar faces of the big and small screens, The Dig takes on a lot of storylines which can be overwhelming at times but the beautiful direction and incredible performances, particularly by Fiennes, keeps you drawn in. With beautiful production and costume design, The Dig may appear as generic on the surface but you simply have to look a little deeper to really find the beauty in the characterisation and production beyond the script. Stone clearly has an affinity for creating films in a natural environment that feel huge in scope so it will be exciting to see what he does next.

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

The Dig is available to watch on Netflix now!

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Away (2019)

One of the most original and unique animated films of recent times, Away is a silent film that wears its heart on its sleeve. Following a young boy who lands in unknown territory, he finds a motorbike and a bird and searches for safety as he is chased by a large shadowy monster that seeks to kill him. Written, directed and scored by Latvian filmmaker, Gints Zilbalodis, Away is an incredible achievement for him, especially considering that he also animated the entire film by himself. The computer animation is unlike anything I have ever seen before and found myself really appreciating the style and in love with the contrast between the living creatures and the natural world and how the two coincide.

Away is a clearly labour of love for Zilbalodis who has created an incredible feature debut all by himself. Although the plot itself is fairly minimal, it does make for an interesting character study. We don’t know who this boy is and how he got there and yet, we understand his plight and the connection he develops with the bird. In its tone and silence, it is easy to make comparisons with animated films of late such as Studio Ghibli’s The Red Turtle as that also has some of the same qualities. Be aware though that Away is its own film and like the films of Studio Ghibli, is invested in its own universe and lore despite its similarities. Thanks to the lack of storytelling, the message from Away is up to interpretation whether you take it literally or metaphorical, it is a film that is designed to gauge a reaction from its audience.

The style of computer animation is incredibly minimalistic and marks a welcome change from a landscape where animated films go overboard to provide every single fibre and texture that can be overwhelming at times. Where the animation Away really thrived is in its natural backdrops, particularly the mountain areas and valleys. Enough detail to distinguish the shading and implied distance yet following a particular colour scheme so the film looks consistent and maintains it’s uniqueness. The design of the shadowy monster definitely has tinges of Ghibli, specifically the Forest Spirit when it transforms into the Nightwalker in Princess Mononoke. The idea of this huge shadowy presence that kills the life it touches can be interpreted in so many different ways. What I also found particularly interesting is how the design of the monster doesn’t have any distinguishing features over than its basic shape and colour and yet still remains a powerful presence when onscreen.

The music by Zilbalodis is used during the majority of the film, although there are some scenes of silence. The score contains a lot of large, open pieces that reflect the beautiful landscapes where the boy finds himself. The piece that plays as he rides across a watery surface underneath the sunny sky is particularly good as it captures that whimsicalness and mystery that the film conveys. The film may not have any dialogue but Zilbalodis does a great job of bringing the words to life through the score.

Overall, Away marks a wonderfully gripping feature debut that thrives in its minimalism. Zilbalodis is a filmmaker to watch out for and it’s exciting to see where his career will take him next. It would be great to see him work on a project for somewhere like Studio Ghibli in the future and see his style develop even further. If this is what he can achieve by himself then imagine what he can do with an entire team behind him!

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

AWAY is out now on Apple TV,  iTunes,  Sky Store, Amazon, Google, Microsoft,  Rakuten, Sony and Curzon Home Cinema.

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Crip Camp (2020)

One of the best documentaries coming into this awards season is this Netflix feature that was executive produced by Barack and Michelle Obama. Crip Camp follows the participants of Camp Jened in the 1970s which was a place that catered to teenagers with physical disabilities. Written and directed by Nicole Newnham and James Lebrecht, the film looks at the campers’ experience  at the camp and also their experiences as disabled teens growing up in ableist American in the mid-20th century and how they managed to create change when it comes to ableist discrimination. Starting with the inception of Camp Jened, we are taken through the camp’s lifespan, the campers and their stories to adulthood and how the camp has affected them and motivated them to inspire change. Crip Camp doesn’t hold back and doesn’t want you to feel pity for the campers but inspiration. We immediately see the campers adapting to their environments and thriving despite what society wants to make them think. Simultaneously, simple things such as easy access to public transport and buildings doesn’t exist and organisations and campaigners take it on themselves to fight an establishment that refuses to have their back.

Starring interviews from as many of the campers, campaigners and Camp counsellors, Crip Camp immerses you into their world at the time. As the campers frequently experience discrimination in the “real world”, especially those who had more severe disabilities whereas at Camp Jened they are able to express themselves and feel like they can be heard without prejudice. Refusing to be defined by a society that doesn’t cater to their needs, the kinship at Jened soon turns into a powerful campaign to outlaw ableist discrimination. Also, the rebellious nature that the campers had from a young age has followed through to the present day. They campaign and protest strongly whilst also having fun as they refuse to let society’s bias dampen their spirits.

One of the most powerful scenes in the film comes in the form of the “Capitol Crawl” in which 1,000 people travelled to the Capitol to campaign for the Americans with Disabilities Act to be passed. 60 of the protestors then proceeded to climb up the steps to showcase the need for easy accessibility. To see this footage alongside interviews with organisers and fellow protestors sums up the struggle and the result of their campaigning. When starting the film, you don’t think that it will all end up at the steps of the Capitol but the film grows bigger from the small group of campers to the nationwide protest. Camp Jened feels like a starting point of revolution and this is an important story for our times.

Behind the scenes, the highlight for me is Bear McCreary’s score. Known for his dramatic music for film, television and games with The Walking Dead theme song being his most well-known venture, his score for Crip Camp is subtle and beautiful. The perfect backing track that tells a story in itself, McCreary has been making his mark on composing in recent years and this is another huge accomplishment. Justin Schien’s cinematography is also a fantastic element to the film thanks to his minimalist and realistic approach.

Overall, Crip Camp is a film that brings the unexpected. Chronicling the summers at camp that gave these kids a chance to be themselves with no restrictions, we see how their positive experiences rippled through into their adulthood and inspired change. It will leave you astounded and in awe of the incredible achievements that transpired from their experiences.

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

Crip Camp is available to watch now on Netflix.

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The Forty-Year-Old Version (2020)

Radha Blank appears in The 40-Year-Old Version by Radha Blank, an official selection of the U.S. Dramatic Competition at the 2020 Sundance Film Festival. Courtesy of Sundance Institute | photo by Jeong Park. All photos are copyrighted and may be used by press only for the purpose of news or editorial coverage of Sundance Institute programs. Photos must be accompanied by a credit to the photographer and/or 'Courtesy of Sundance Institute.' Unauthorized use, alteration, reproduction or sale of logos and/or photos is strictly prohibited.

Another film on my awards season list is The Forty-Year-Old Version, released on Netflix, the film is a brilliant comedy film written, directed and starring Radha Blank. It first premiered at the 2020 Sundance Film Festival, with Blank walking away with the U.S. Dramatic Competition Directing Award which made it one of the hottest releases at Sundance. Although it is marketed as a comedy and really showcases Blank’s talent for humour, the film crosses into many genres, particularly drama and musical as we see every side of Radha’s life as she approaches her 40th birthday. Marking her feature film debut as a director, Blank has a distinct vision that allows the audience to see real women and the real New York. The decision to shoot the film in black and white made me think of Spike Lee’s films from the 1980s, especially since they are set in New York and feels like a fresh take for the 21st century just as Lee’s point of view was on his film’s release.

The Forty-Year-Old Version follows Radha, a fictionalised version of Blank as a struggling playwright and teacher who is trying to get her play, Harlem Ave. off the ground. Attempting to revive a failed rap career under the name RadhaMUSprime, we go through Radha’s artistic process and how it overlaps through different mediums of expression such as musical, plays, performances. As she balances her teaching career, trying to get her play produced and emerging as a rapper, Radha’s life becomes hectic and out of control as she struggles to maintain a balance. Soon enough, Harlem Ave. gets a renowned producer on board but that soon changes when the producer aims to market the play to middle class white people who know nothing of the struggles of the gentrification that Radha’s play explores. From exploring a young black couple who own a small store affected by gentrification to the addition of a white protagonist whose qualms in life is not having a place to buy soya milk. The play actually explores gentrification in an ironic way that brings those issues to light. It is Blank’s incredible script that talks about gentrification and the African-American struggle in modern day New York where the film really shines.

Playing a fictionalised version of herself, Radha Blank pulls off a great and relatable performance that perfectly highlights the struggle of being an artist. Radha is real, unfiltered and flawed whilst trying to express herself through her art. As she tries to write her.play, she finds herself rapping the words. Through music, she is able to find the words that she wants to say. Her point of view as a black woman who is nearing 40 in a society that is obsessed with youth and gaining success at a young age is something that confuses and shocks the audience. However, Radha’s voice comes in the climactic final scene of the film. As her play reaches its opening night, Radha is embarrassed and is appalled at being associated with such a result. Her rap speech at the end of the play is an exhale of all the words she wanted to say but couldn’t initially find them.

In support, the highlight for me is Peter Kim as Radha’s agent, Archie. Desperately trying to book Radha a gig, Archie provides comic relief and the scenes and rapport the two share makes for great dialogue. Whereas Radha is a creative, Archie is completely logical and aiming to achieve the American Dream by making money. Staying loyal to Radha as they have been longtime friends, it’s easy for Radha to forget Archie’s own struggles as an Asian-American because his aims are different to hers. The scene in which Archie breaks down to Radha hits hard, especially given that he is seen as light comic relief up to this point. Just like Radha, Archie also makes sacrifices to make way for opportunities and keep the door open for Radha to have her play produced after she lashes out at the producer.

Overall, The Forty-Year-Old Version is one of the most original comedies to come into the 2021 awards season. As it is one of the smaller indie films, it’s not likely to rack up lots and lots of nominations sadly but I think it stands a very good chance in the Original Screenplay category. As mentioned previously, the final scene is an absolute masterclass in acting and writing. Through all the humour that the film conveyed throughout, that serious tone in the rap/speech grounds the film and also allows Radha to cut through all the noise. Blank’s writing is fearless, unflinching and unapologetic and the result is a fantastic film that perfectly exemplifies the struggles of African-Americans when it comes to creating art and how their output has to be approved by a white audience. Blank subverts this rule by firmly putting a middle finger up to an establishment that is trying to rewrite the history of gentrification.

What did you think of The Forty-Year-Old Version? Let me know in the comments below!

The Forty-Year-Old Version is available to watch on Netflix now!

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The Midnight Sky (2020)

Happy new year, my fellow filmies! Now that we have left a year that has shaken the whole world up, we can now look forward to a new start where things can start to look more positive. As any film fan will know, we’ve now entered the period of awards season which means plenty of screeners, numerous streaming site subscriptions and hopefully plenty of cinema trips if and when they reopen. Embarking on the quest to watch as many films up for contention has gone off to a great start and the latest on my watch list is Netflix’s The Midnight Sky directed by and starring George Clooney. The film takes place in a dystopian future where Earth is becoming more inhabitable. Humans have been evacuated onto spaceships in order to find a new planet to settle down on. Clooney plays research scientist, Augustine, the only survivor left on Earth as he is terminally ill and needs dialysis to survive. He keeps in contact with a ship called Æther whose team has discovered a habitable moon called K-23 that orbits Jupiter.

George Clooney’s direction is hugely ambitious as this marks his biggest directorial project yet. With a huge handful of successful adaptations under his belt, The Midnight Sky is an adaptation of the 2016 novel, Good Morning, Midnight by Lily Brooks-Dalton. With a screenplay written by Mark D. Smith and a massive budget of $100 million, Clooney brings together a renowned cast and crew for the film and the result is a huge spectacle that feels like an event in the same vein of other 21st century space sagas like Gravity (which also stars Clooney) and Interstellar. However, where the film excels in its special effects and grandeur, it seems to lack a little in the characterisation and we don’t quite get to know the main characters as well as I would like, especially the leads Augustine and Sully (Felicity Jones).

As mentioned previously, we have George Clooney and Felicity Jones as the film’s leads. Both play scientists in different setting and never share a scene together and yet they have a touching friendship as they compare notes. With Augustine having theorised that K-23 was habitable 30 years prior as shown through flashbacks, Sully and her team aboard the ship have actually proven his research to be correct. Clooney sets himself a huge challenge as his scenes only consist of him and a young girl called Iris (Caoilinn Springall) who can’t speak. Having to drive the scenes largely himself, it’s a huge undertaking and at times the action happening can overwhelm the emotion and make the film inaudible at times. On the other hand, Jones spends her scenes aboard the Æther which is heading to Earth to share their discovery of K-23. Working as an astronaut whilst pregnant, Sully is a resilient character. Despite being in her condition, she still puts in her fair share of hardwork like the others in the crew. Jones has shown time and time again that she is a strong leading lady, which is clearly demonstrated in The Theory of Everything and Rogue One. I think that Jones isn’t quite given the screentime and characterisation that she needs to really standout but she does a solid job with what she has.

For the supporting cast, Clooney fills the casting list with more familiar faces. My personal favourites in support were Kyle Chandler and Demián Bichir as astronauts Mitchell and Sanchez. Not only are Chandler and Birchir hugely likeable presences in any films, but it’s nice to see them in roles where they are able to provide a lot of subtle comic relief. Leading a team recital of “Sweet Caroline” from the control panel as everyone else is repairing the outside of the ship, it’s clear that Chandler and Birchir are having a blast in their roles. As they are only in support, they aren’t in the film that long and honestly, I think the film would have benefitted from incorporating them more into Sully’s storyline and showing their friendship to establish the family vibe that Clooney was aiming for. This would give the events that unfold a lot more impact.

The strongest aspect in this film for me is the beautiful score composed by the legendary Alexandre Desplat. Keeping the music subtle and more classical, Desplat’s score contrasts the sci-fi genre of the film and gears it towards the dramatic side, providing a heavier backdrop to the overall film. When watching the film, my ears kept picking up the music and it would grab my attention more than the story was and I instantly knew that it had to be a Deaplat score. As a huge fan of Desplat’s score, it’s clear that he is one of the best film composers working today and proves his amazing talent for working on any kind of film.

Overall, The Midnight Sky is a film that bites off more than it can chew. Individually, each aspect from the acting to the special effects to the scores work but when you mix it all together, it becomes a bit overwhelming without actually pushing a developed narrative. It’s great to see Clooney in front of the camera for a film since 2016’s Money Monster. I do wonder if the film would have benefitted more from a cinematic release. Granted cinemas are closed but this was always destined to release on Netflix. A lot of space dramas tend to have a stronger and positive response from a big screen viewing. That being said, it is a film I will probably revisit to see if I grow to like it more as there were some fantastic scenes throughout.

What did you think of The Midnight Sky? Let me know in the comments below!

The Midnight Sky is available to watch now on Netflix.

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Soul (2020)

One of the most hyped film of 2020, especially after it was delayed a couple of times after the pandemic took hold. Pixar’s Soul has been the subject of much conversation when Disney announced that it would be uploaded onto Disney+ on Christmas Day. I had actively avoided watching any trailers but knew that it involved jazz somehow. Watching the film provided to be both captivating and enlightening, providing one of the most emotional scenes I have ever seen in a Pixar film (yes, you read that correctly!).

Soul is directed by Pete Docter who is responsible for some of the best Pixar films including my favourite of all time, Up. What Docter does so well is include more mature themes that children may not understand initially but can grow to appreciate whilst maintaining that feeling of hopefulness and light. The film follows aspiring jazz musician, Joe (voiced by Jamie Foxx) who is struggling to find purpose as he works as a middle school teacher to make ends meet. Juggling the pressure from the school and his mother, Joe finally is given an opportunity to play with professional musician, Dorothea (voiced by Angela Bassett) but an unfortunate incident leads to his untimely death. What follows is an abstract and bizarre journey that explores what happens after life. When he finds himself mentoring an unborn soul called 22 (Tina Fey) to help find their spark and purpose to live, Joe begins to understand that there may be more to life than just jazz.

The film has garnered a lot of controversy among parents who feel as though the subject of life and death is too macabre to explain to children but death is a part of life and if your child is too young to understand then they are not likely to be affected by that aspect of the plot. Pixar’s earlier films Coco and Onward are among the many films that have incorporated life and death into their narrative yet generated no controversy for doing so. Soul has more to offer than simply suggesting what may lay ahead and there is enough music and liveliness to keep the overall tone lifted. Films can often be seen as a form of escapism but there is no harm in including some challenging questions and ideas into the storyline.

As expected, the cast is glittered with stars, bursting at the seams with huge A list names. I have previously mentioned some of them above and everyone does a fantastic job. I would, however, like to draw attention to the casting of Richard Ayoade and Rachel House as some of the monitors based in the “Great Before”, the place one enters before venturing to the “Great Beyond”. Ayoade and House mainly provide comic relief and their distinctive voices are always a nice inclusion in any film.

In terms of the score, it’s quite clear that Trent Reznor and Atticus Ross are having a stellar year after their recent collaboration for David Fincher’s Mank. The score for Soul is unlike any sound they have experimented with before. Combining jazz inspired music with dramatic ballads to show the clash between worlds from Joe’s perspective, the score is more subdued than what I thought it would be, particularly considering that jazz and music in general plays an integral role in the film. However, it feels as though that decision was made to show that music doesn’t necessarily have to be everything in Joe’s life. The tender moments we see him (or 22 as him) share with the people around him get him to realise this.

Soul really was worth the wait and more, particularly a scene near the end in which Joe journies as far as he can with 22 to Earth made for one of the huge emotional moments in Pixar history. The animation feels like it has been turned up a notch in terms of how much detail and scope the artists go. The scenes in which Joe ventures through the Great Before are the reason why audiences became captivated with Pixar in the first place. That unhindered imagination where nothing is impossible is hard to ignore and easy to appreciate. I do feel as though the ending could have done with an extra scene just to tie everything up neatly but that is proper nitpicking. Missing out on Soul is missing out on one of the best cinematic experiences of the year. It is just such a shame that it wasn’t to be appreciated on the big screen.

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

Soul is now showing on Disney+ so watch it as soon as you can!