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Nashville (1975)

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

“This isn’t Dallas, it’s Nashville!”

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

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

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

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

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

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

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Encanto (2021)

Disney has been on a roll this year and Encanto marks their third animated release (including Pixar) following Raya and the Last Dragon and Luca. Following the traditional format of the animated musical, Encanto is set in a small village in Colombia and follows the magical Madrigal family where each member has a unique gift that helps the community to flourish thanks to an enchanted candle that was gifted to the matriarch except for protagonist Mirabel who was not granted any powers and is often underestimated or seen as a nuisance and burden, especially by the matriarch, her Abuela Alma. What follows is Mirabel trying to solve the mystery of her family’s powers and why she wasn’t granted a power in the hopes that she can eventually unlock her gift. The result is a film that boasts exceptional animation filled with eye-catching colours and a world full of imagination and magic that would make audiences of all ages captivated by the wonder and beautiful storytelling.

As with most Disney animations, Encanto is a collaboration when it comes to the direction and writing as it is directed by Jared Bush and Byron Howard and written by Bush and Charise Castro Smith. What Encanto does so well is subvert stereotypes and challenge expectations and perceptions. Mirabel’s sisters are a great example of this as the strong and muscular Luisa is able to show her sensitive side while Isabela is known for her beauty and perfection but she wants to feel free and unrestricted. Mirabel’s position as an outsider works well as we are able to observe these characters at a distance and witness their growth while simultaneously seeing Mirabel develop and forge her own identity. One of the major themes in the film is finding a place to belong from Abuela Alma’s struggles as she is forced to flee her home and building a community from the ground up to Mirabel’s desire to find out where she truly belongs. The brilliance of the events in Encanto is that we don’t leave the area unlike other films such as Moana where the titular character has to venture overseas to solve the mystery, Mirabel has everything she needs within the home and her family but simply has to put these pieces together. This doesn’t make the film suffer and allows for great pacing that means we see the supporting characters more than other Disney films.

The protagonist of the film is Mirabel who is voiced by Stephanie Beatriz who is known for playing Rosa Diaz on TV show Brooklyn Nine-Nine. Diaz’s performance is fantastic and following her turn as Carla in this year’s In the Heights (with music also provided by Lin-Manuel Miranda), she is able to add her singing talents to Encanto as well as her quirky humour while also delving into the dramatic elements of the plot. Mirabel’s struggles from having no power and the way that her family view her as a hindrance. What makes Mirabel such an effective protagonist is the realism in terms of her mannerisms and attitude. She isn’t portrayed as someone who is perfect and right all the time but a flawed young woman who makes mistakes and has a good heart. Her good intentions don’t always generate good results but this doesn’t mean that she is unlikeable and makes her more relatable than a lot of animated Disney protagonists.

The songs in the film are provided by Lin-Manuel Miranda who has developed a close relationship with Disney in recent years. As expected, the songs perfectly capture the setting and emotions of the characters while incorporating signature Miranda elements such as mixing genres and singing styles to create a soundtrack that is distinguishable and unique. There are many brilliant songs on the album from the opening introduction “The Family Madrigal” to the slow and dramatic “We Don’t Talk About Bruno” and songs that are completely sung in Spanish with no subtitles which heightens the authenticity of the Colombian setting. Miranda’s soundtrack for Moana was undoubtedly a hit but with Encanto, he has proven his ability to write for film that differs in context and setting with ease without sacrificing his own artistic license.

In a year that has seen Disney release several animated films, Encanto comes out top as the most original, vibrant and creative of the three thanks to the memorable characters, stunning animation and incredible soundtrack. Not only does it capture the Colombian setting and culture fantastically, it does so in a way that is captivating thanks to the writing and development of Mirabel as a great protagonist.

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

Encanto is out in cinemas now!

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Tick, Tick… Boom! (2021)

Tick, Tick… Boom! is one of many film adaptations inspired by musicals and this one sheds light on the creative process and its struggles of the musical’s writer and subject, Jonathan Larson (Andrew Garfield). Larson was known for writing the musical Rent which is one of the most popular and loved by people across the world. What people may not know is how Larson struggled to make it big in the musical theatre world which is what Tick, Tick… Boom! explores. The musical follows Larson who is trying to get his new musical approved and funded by respected members in the Broadway community including figures like Stephen Sondheim (Bradley Whitford). The musical in itself is brilliant and acts as a fantastic tribute to the world of musical theatre and the people who helped build it to what it is now.

When deciding to adapt the musical, it seems only natural that Netflix would choose someone who is just as prolific in the musical theatre world and who else to choose than the incredibly talented Lin-Manuel Miranda. The mind behind In the Heights and Hamilton and songwriter for Moana and Encanto, Tick, Tick… Boom! marks Miranda’s directorial debut and he delivers, marking his talent behind the camera with a stunning debut. Miranda’s passion for the musical and its subject is evident and it comes across in how he captures Larson’s perspective of the world and the magic and imagination of musical theatre with contrasts of the reality that Larson is living as he struggles to afford his rent and bills and is losing friends to HIV and AIDS amidst the epidemic. Miranda transports us to early 1990s New York and combines the original musical format that sees Larson and his costars perform onstage and recite the stories in a traditional setting with stagings of the events to keep it equally gripping.

There is no doubt that this film belongs to Andrew Garfield who is captivating and perfect for the role of Larson. Arguably Garfield’s career best performance and one that is sure to bring him a lot of attention this award’s season, his portrayal of Larson feels well-rounded and fully realised. He doesn’t always make the smart choices but his intentions are pure as his passion for music and musical theatre thwarts his love for everything else and we get to see the rewards and consequences of this. We feel the elation as Larson gets closer to achieving his goals such as his promising interactions with Stephen Sondheim while also witnessing the losses and downfalls as he comes to terms with the deaths of his friends with scenes such as his emotional encounter with best friend Michael (Robin de Jesús) who has recently discovered that he is HIV-positive. Garfield is magnetic from the first shot to the last and makes use of every scene in between. Not only does he pull off the performance fantastically but his singing voice is brilliant as well which makes it a great watch.

Alexandra Shipp plays Jonathan’s girlfriend, Susan, who is a dancer looking for a stable job following an injury that has put a spanner in her career. It is clear that Susan loves Jonathan and appreciates his talent but when Jonathan begins to neglect Susan and disregard her needs and the decision regarding her offer to teach full-time which would result moving out of state. Where Garfield’s performance sees Jonathan’s head in the clouds, Shipp’s performance weighs him back down to reality which makes their pairing a perfect match. The scene in which Jonathan imagines Susan singing “Come to Your Senses” and Shipp’s performance perfectly conveys the pain that her character feels as she had no choice but to follow her path despite her love for Jonathan.

There are plenty of great supporting performances that allow Garfield to shine even more. These include Vanessa Hudgens as Jonathan’s costar and actress, Karessa, who has the role as the female protagonist in Larson’s musical, Superbia, that he is trying to get funded. Hudgens doesn’t have a lot of screentime but she makes the most of the time she does have. Her performance of “Come to Your Senses” which plays alongside Shipp’s is beautiful and although it plays up the performative aspect of the number more than Shipp’s which leans more into the emotion, it shows the ability that the song has to exist both as a tribute to Susan as a character and as a musical number.

Since the film is a musical, it is important to talk about the music. As expected with a Larson production, the musical numbers are fantastic and filled with plenty of nuance and emotion. Tick, Tick… Boom! not only includes songs about Jonathan’s perspective and struggles to write a song but there are also a couple of songs included from the musical that he is trying to complete within the film. The songs are mainly sung by Jonathan but there are plenty of numbers that incorporate other cast members. One such highlight is “Sunday” which sees Jonathan escape his job for a moment as he imagines a life where he can mingle among Broadway stars. Jonathan sings in the diner as the patrons are all Broadway stars, many who Miranda has previously worked with before such as Phillipa Soo and Renée Elise Goldsberry, and other Broadway heavyweights including Phylicia Rashad, and Bernadette Peters. Not only is this number filled with stars but the performance itself is packed full of passion as it laments on the dreaming a life that is worlds apart from the one that Jonathan leads.

In a year that has seen a lot of musical film adaptations released, Tick, Tick… Boom! does a great job of standing out from the crowd. This film marks Garfield stepping out of his usual dramatic comfort zone and shows that he can lead a musical while Miranda shows his talents as director as his vision has been perfectly realised. Miranda merges reality with fantasy as Larson’s world begins to turn and transform to the world inside his mind. With scenes like “Sunday”, this is a film that demands multiple viewings and shows Larson’s talent as a pioneering figure in musical figure and the interesting portrayal of himself including his flaws.

What did you think of Tick, Tick… Boom!? Let me know in the comments below!

Tick, Tick… Boom! is available to stream on Netflix 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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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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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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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 Prom (2020)

One of the pleasant surprises of the year for me is Ryan Murphy’s The Prom. Adapted from the musical of the same name, The Prom follows a group of Broadway actors who try to reclaim some positive PR by protesting the decision a high school in Indiana made to cancel prom after student Emma (Jo Ellen Pellman), expressed her desire to take a female date. Featuring the starriest cast of the year led by Meryl Streep and Nicole Kidman, The Prom is a hilarious showstopping event that isn’t afraid to poke fun at the world it inhabits while simultaneously delivering a sincere message on equality and the comparisons between the two worlds.

Ryan Murphy is one of busiest men in Hollywood as he is always bringing out projects, mainly on TV and there is a common theme within all of them. His desire to put LGBT+ actors onscreen and tell their stories is clearly a passion of his and has helped create incredible shows such as American Horror Story, The Politician and my favourite, Pose. Now branching into film and it is clear that Murphy’s mission isn’t slowing down. Making sure that any LGBT+ characters are played by actors in the community is important and it has resulted in one of the best finds of the year. Also, the fact that he managed to get Streep and Kidman in one film is only a credit to his power and influence in pushing Hollywood in a more inclusive direction.

The personal highlight of this film for me goes to newcomer Jo Ellen Pellman as school outcast, Emma. Berated for her sexual orientation in a town that tries to oppress her identity, Emma has to deal with hate coming from all directions, especially because her girlfriend Alyssa is too afraid to come out. This puts Emma in a hugely isolating position where the only support she receives is from her grandmother and Principal Hawkins (Keegan-Michael Key). Not only does Pellman having the acting and singing chops needed for this role, but she really delves into Emma’s struggle to become the face for those who aren’t able to express who they are.

In support we have Meryl Streep as Broadway veteran, Dee Dee Allen, a narcissistic two time Tony winner who struggles to put anyone else before herself. There isn’t much else to say except that Streep is a force of nature and as expected, pulls off an incredible performance. Just when you think she has shown you range, she goes off and adds even more strings to her bow. Her singing is brilliant and the unpredictability of her character makes for some of the film’s funniest moments as well as keeping you on edge for what she will do next.

In a small but important role is Andrew Rannells as struggling actor, Trent Oliver. Rannells usually stars on stage and small screen and has made the jump onto film with his signature charisma. One of the best numbers in the film is a song called “Love Thy Neighbor” in which Trent teaches Emma’s school peers about how people pick and choose what to take from the Bible. It’s a turning point in the film as the general opinion towards Emma starts to change. Funnily enough, the townspeople only recognise Trent from the showbiz group from his past tenure on a tacky sitcom which he loathes and doesn’t think goes with his Julliard education.

Overall, The Prom is a wonderful film that is entertaining as well as poignant for this day and age. Featuring a cast that is among the best on stage and screen, The Prom was much better than I had anticipated. There is a lot going on a times making it hard to focus on specific characters but when the glitter has settled and the characters are given their moment in the spotlight, the film really shines. Emma’s song “Unruly Heart” which consists simply of Emma with a guitar performing her song which is being watched by fellow LGBT+ teens who are inspired by her story. The tender tone of the song and sincere message it holds makes for a hugely emotional sigh of relief for Emma’s character. This is the moment where she is unashamedly herself and isn’t afraid for everyone to know.

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

The Prom is available to watch on Netflix now.

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“Amok, amok, amok, amok, amok”: Halloween Family Fun

“I’m a master of fright, and a demon of light, and I’ll scare you right out of your pants!” 

– Jack Skellington, The Nightmare Before Christmas

Halloween is a favourite time of year for many. The spooky decorations, costumes and sweets galore, Halloween is the perfect time of year to whip out the horror films and have a marathon. Also, given that we’re in a lockdown situation, it seems like a movie night will be the best way to celebrate the scariest night of the year. However, not everyone can stomach the gore of the Saw films or Midsommar but don’t fret, there are so many films available for younger audiences and the faint of heart. But why do people of all ages love to watch scary films? Filled with creepy costumes, unimaginable monsters and black magic, horror has always been relied on to entertain and stretch the imagination to its limits.

The first name that comes to mind when thinking of family horror is Tim Burton. Combining Halloween with a Christmassy texture in his earlier films such as The Nightmare Before Christmas (1993) which features characters he created. His imagination sparked a new wave of gothic childlike films that have gained millions of fans around the world. From the magical music numbers to the vulnerability of his characters, Tim Burton’s vision is undeniably horror but also mixed a variety of genres such as comedy and musical to make it suitable and accessible for all ages. Even in his later films such as 2005’s Corpse Bride, he adapts this approach and it still remains as popular as ever.

Seeing how successful it was on release, Disney have taken ownership of The Nightmare Before Christmas since and before this appeared to channel their Halloween offerings into their live-action films. It’s rare to find someone who isn’t aware of the 1993 hit Hocus Pocus which follows the evil Sanderson sisters, a trio of witches set on killing the children of Salem to regain their youth once more. Led by Bette Midler in one of her best performances, Hocus Pocus follows the same approach at exploring the scary topics through comedy and music. It’s no surprise that, despite being critically panned, dedicated fans watch the film every Halloween. Between the likeable characters and the fantasy aspects introduced through the eyes of a Californian native who has recently moved to Salem with his family. What transpires is the terrifying resurrection of three witches who are hellbent on killing the town’s children before sunrise on Halloween night or they will vanish again. It’s a fun film with quite a bit of adult humour to appeal to older viewers and lots of creative costumes to captivate children. It’s such a great watch. Besides, who doesn’t love to sing along to Midler’s fantastic rendition of “I Put A Spell On You”?

Despite never having made a feature film for them, Burton did work at Disney in the 80s but was fired as his work was deemed too dark for children. However, it cannot be argued that his influence has had an affect on Disney’s approach to scarier films in the years since. This reasoning is odd considering that 1985 saw Disney release their scariest movie to date with The Black Cauldron bringing the Studio’s first PG rating. However, it may be due to the film’s failure at the box office that supported their decision to fire Burton. Aside from The Black Cauldron, the only horror animated films Disney had released by 1990 was The Tales of Ichabod and Mr. Toad (1945) which, despite its dark ending, was much lighter in tone than The Black Cauldron. Needless to say, Disney is not the only studio producing horror content for a younger audiences.

Another popular way that filmmakers integrate horror into their films is through satire. Even if younger audiences don’t understand all of the punchlines or references, there are still plenty of laughs to be had. Take Aardman’s Wallace & Gromit: The Curse of the Were-Rabbit and Laika’s Paranorman, two stopmotion animations that take the horror genre and change the rules. The former taking the classic monster werewolf and turning it to a vegetable-crazed were-rabbit and the latter making its protagonist the “monster” as he is a young boy who can see dead people. What makes these films so successful in their audience outreach is that the visuals and stories are enough to captivate and scare younger audiences and older audiences will understand the deeper context.

Halloween has always been a popular time for film fans with new horrors being released every year. Not only is it fun to watch new films but revisiting old favourites for nostalgia always makes for a great time and although it is entertaining to watch some the more gory offerings, it’s nice to watch a lighter family Halloween film as well. Just because a film doesn’t contain massive amounts of blood and guts doesn’t mean that a film can’t be scary and entertaining. Films like The Nightmare Before Christmas and Paranorman have become modern classics because of their fearlessness in bringing out vulnerability in potentially scary characters. No one has to miss out on the jumpscares and thrills after all.

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Top 5 It’s Always Sunny in Philadelphia Episodes

There are a lot of comedy sitcoms around nowadays that serve to shock and push boundaries. One such comedy series is It’s Always Sunny in Philadelphia which has been shaking things up since 2005. Following the owners of Paddy’s Pub, the Gang consists of brother and sister Dennis and Dee Reynolds (Glenn Howerton and Kaitlin Olsen), their father Frank (Danny DeVito), “bouncer” Mac (Rob McElhenney) and cleaner, Charlie (Charlie Day). The episodes follow their day-to-day lives, showcasing their offensive and ridiculous behaviour. A simple setup but what makes this show so great and iconic is the writing which is a shared collaboration between its stars, particularly Howerton, McElhenney and Day.

Now preparing for their 15th season and showing no signs of showing down, Always Sunny has become one of the household names in American comedy for its fearlessness in tackling taboo subjects whilst managing to maintain a charm. The cast are all perfect in their roles and the strength of the show has only improved throughout the years. What is so brilliant is how terrible the characters are but you still root for them anyway. The writing is done perfectly and flawlessly, giving a variety of memorable moments that is going to make it difficult to narrow down to five episodes. In true Smaller Pictures fashion, however, I have decided to pick my top 5 episodes from the 154 episodes that have aired so far.

Here are my top 5 episodes:

5) “The Gang Desperately Tries to Win an Award”, Season 9

Kicking off my countdown is this gem from the shows 9th season. One of the things Always Sunny does best is bringing in the outside world and incorporating that into the narrative. To go even further, “The Gang Desperately Tries to Win an Award” goes meta as it reflects the fact that Always Sunny has never been nominated for an Emmy. This fact in itself is outrageous but the result of the episode gives us one of the best songs of the whole show thanks to Charlie Day’s hilarious songwriting. This episode shows the gang trying to win an award for Paddy’s Pub so they decide to host an event for local critics. Charlie had prepared a lovely song to sing on the piano but as usual, he takes some drugs and starts to sing about spiders inside his soul before bursting into a chorus telling the audience to “go fuck” themselves. It’s the perfect response to the awards bodies in reality and is done with that amazing Always Sunny creativity. What better way to address your critics than by grabbing their attention and annihilating them? Always Sunny has never been the type of show that follows the crowd anyway so this episode is the perfect response that reflects this.

4) “A Very Sunny Christmas”, Season 6

In America, this episode is released in two parts but on Netflix UK, “A Very Sunny Christmas” is released as one long episode so I will be referring to both parts. Taking on the structure of A Christmas Carol, “A Very Sunny Christmas” shows the Gang’s attempt at getting Frank to get into the Christmas spirit. When growing up, Dee and Dennis would be subject to Frank’s pranks as their father would wrap up empty boxes and pretend they have gifts in. What tips the siblings over the edge is when Frank buys himself a designer handbag and Lamborgini which is what Dee and Dennis always wanted, respectively and it drives them insane. They recruit an old friend of Frank’s, Eugene, to act as Ghost of Christmas Past in a bid to get him to change his act with hilarious consequences. What puts this episode in my top 5, however, is a musical stopmotion animation sequence that is gory, crude and absolutely hysterical. Showing Frank being tortured and mutilated by the Gang for his behaviour, it helps him come to terms with how he treats them.

3) “McPoyle vs. Ponderosa: The Trial of the Century”, Season 11

Sometimes there are episodes that only focus on one character and then there are those that bring everyone together. This episode is amongst the latter and is a hilarious conclusion to the Ponderosa-McPoyle wedding fiasco. Bill Ponderosa is being sued for spiking the punch with bath salts by Liam McPoyle who lost an eye during the wedding. Charlie’s Uncle Jack agrees to be Bill’s lawyer and it is Jack who delivers my personal favourite moment in any Always Sunny episode. Ever. Uncle Jack has an obsession with large hands and wears giant fake hands over his own so no one knows that his hands are small. When interrogating a witness, Jack dramatically points to the McPoyles and one of his hands flies off to which he shrieks “NOBODY LOOK” repeatedly and runs to collect the hand. It is truly one of the funniest moments in comedy and had me in stitches long after the episode. The episode also features the unnamed Lawyer, representing the McPoyles who is one of my favourite side characters in Always Sunny for his deadpan sarcasm.

2) “Mac Finds His Pride”, Season 13

One thing about Always Sunny is that it is able to balance its comedy and seriousness well. This episode is a prime example of that. In “Mac Finds His Pride”, we see Mac trying to find comfort in coming out publicly with the help of Frank. Throughout the episode, Frank states that he doesn’t understand it but he accepts Mac but Mac struggles with how to come out to his dad, Luther, who is in prison. The result is a dance sequence where Mac performs with a professional dancer in a piece that explores his journey to acceptance. It’s a beautiful routine that would have taken a lot of practice to perfect and it also shows Rob McElhenney’s dedication to the character. Doing this dance would have seemed so out of character for Mac a few seasons before but the way McElhenney has developed Mac’s character through the years, it is the perfect way to let him come out. It’s a bittersweet ending to a season that has seen Mac really come to accept himself for who he is.

1) “The Nightman Cometh”, Season 4

Probably the most iconic episode to date, “The Nightman Cometh” accumulates everything we love about Always Sunny and puts it into a 20 minute masterpiece. Charlie enters the bar and announces that he has written a musical which he and the gang will be performing. Incorporating characters created in the previous season, the musical tells the story of a boy’s journey to manhood by defeating a troll and the evil Nightman thus becoming Dayman. It’s bizarre and is full of dark undercurrents but the songs are catchy and hilarious. It shouldn’t work but it absolutely does and will have you falling on the floor with laughter. From songs such as “Tiny Boy, Little Boy, Baby Boy” to “Troll Toll” to the iconic “Dayman”, the musical is filled to the brim with innuendo but what makes it funny is that Charlie doesn’t intend for it to be rude at all. He is confused by the Gang’s concern over the lyrics and becomes irritated when they decide to take creative control over their characters. Even if you haven’t watched Always Sunny, I would definitely recommend giving this episode a watch. It’s hilarious, bonkers and shows what the Gang does best which is ruin everything.

So there you have it! My top five Always Sunny episodes. I think each choice perfectly shows a different reason as to why I love this show and there were so many that didn’t make the list that would be just as deserving. With the 15th season due to arrive in 2021, now is a perfect time to rewatch all of the seasons on Netflix in time.

What do you think of my list? Which Always Sunny episodes are your favourite? Let me know in the comments below!