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My Son (2021)

It’s always exciting when films try to do new things and Christian Carion’s latest film, My Son, has a unique approach that makes it intriguing to watch. The film follows Edmond (James McAvoy), a man whose job takes him all over the globe which has in turn made him an absent father. When his son, Ethan (Max Wilson) is kidnapped, Edmond has to take matters into his own hands to locate Ethan and bring him home safely before it’s too late. It’s not the plot that makes this film intriguing, however, but the approach that Carion took by refusing to supply McAvoy with a script beyond the basic facts regarding his character. This means that McAvoy genuinely had no idea what was going to happen or how the film was going to unfold, adding a layer of genuine emotion to his character. The simplicity of the plot and limited setting helps to aid this to ensure that McAvoy can really delve into his characterisation without feeling overwhelmed by complexity.

The film is written and directed by Christian Carion, who is best known for his Oscar-nominated film, Joyeux Noël, My Son is an English-language remake of his 2017 Mon garçon which also incorporated the experimental aspects of having the lead character make discoveries of his own without having a script to rely on. The direction of the film is highly intense with some brilliant contrasts as Carion blends vast Highland landscapes with close-ups to provide that sense of entrapment and claustrophobia reflecting Edmond’s feelings. The script and story is fairly simple in terms of what happens to Ethan, but this serves in the film’s favour as it never feels overwhelming or overcomplicated as crime films often do. While this means that the film can delve into a predictable nature, the intensity of the direction keeps the audience gripped throughout.

Leading the film is James McAvoy as Edmond and arguably, the film relies on McAvoy’s performance and the conviction that he brings to the character. As ever, he is fantastic in the role and proves to be the perfect choice for Edmond as he is able to play a deeply flawed character that the audience roots for. Edmond is hard-working but neglectful of his family, to the point where his ex-wife has started a new life with her partner, Frank (Tom Cullen), while Edmond rarely visits to see Ethan. It’s a performance that hinders on this heartbreak that he doesn’t spend time with his son, but the love that he has for him knows no bounds. The climactic scene in which Edmond searches a large house for his son and has to kill or injure the kidnappers is deeply intense as the house serves as a claustrophobic labyrinth. While this performance may not show the range that his turn in Split did or be as well-known as his turn in the X-Men franchise, McAvoy demonstrates yet again his ability to play flawed characters that the audience will get behind with ease in a role that seems tailor-made for him.

Supporting McAvoy is the incredible Claire Foy who is best known for her portrayal of Queen Elizabeth II in the first two seasons of Netflix’s The Crown. Her performance as Joan couldn’t be further from her turn as the Queen as she is able to showcase even more versatility. Joan is a character who has been burdened with the duty of bringing up Ethan without Edmond’s help, while also having to be Edmond’s cheerleader when he doesn’t turn up for his son. Foy’s performance provides plenty of nuances and it’s a shame that her character isn’t in the film even more. She perfectly brings all of Joan’s frustrations to the surface in a performance that is powerful and works well against McAvoy’s temperamental Edmond.

Laurent Perez del Mar’s score perfectly undercuts the film and draws out the thriller elements. Just as the film provides many twists and turns, the score is full of swooping strings and drawn-out notes that highlight Edmond’s frustration and confusion. The score feels as though it is in tune with Edmond and his emotions, becoming more intense as the film goes on. However, del Mar knows when to create subtlety such as the scene in which Edmond is sneaking around the lodge to say Ethan from the kidnappers. This contrast between loud, dramatic strings and quieter moments provides an unpredictability to the film.

My Son may not have the most complex plot and story, but the strong leading characters and intense direction make this a thrilling watch, even if it does lose a bit of momentum in its closing scenes. McAvoy is brilliant to watch, as always, and it’s great to see him in a film that relies as heavily on his performance as we are able to feel his character’s array of emotions as he figures out what has happened to Ethan. My Son should be commended for its unconventional approach to filming and hopefully, this will inspire even more creative experiments in the filming process.

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

My Son is available to view on Amazon Prime!

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The Lost Daughter (2021)

One of the big favourites to come out of the 2021 festival season was Maggie Gyllenhaal’s directorial debut, The Lost Daughter. The film follows Leda Caruso (Olivia Colman), a college professor who has ventured to Greece in order to finish her current project. Whilst there, she encounters Nina (Dakota Johnson), a young mother who has come to the resort with her large family, who struggles to deal with the pressures of motherhood and what is expected of her in the role of mother and wife. The film is an intricate look into what it means to be a woman and the pressures that society puts on women. As Leda reflects on her own life, which we see in flashbacks with Young Leda (Jessie Buckley) and the decisions she has made over the years, the film’s dynamic shifts between drama and thriller as Leda begins to become more involved in Nina’s life and finds herself in a compromised situation.

The film is directed by Maggie Gyllenhaal in her debut which she also wrote, with the script based on the novel of the same name by Elena Ferrante. From a technical standpoint, this film is beautifully made with captivating direction from Gyllenhaal, while the screenplay unfolds slowly, so we get to see what lies under Leda’s surface. The film starts in the present day as Leda stumbles on the beach at night and lies unconscious at the water edge before going into a flashback and showing the events that have led to this. Gyllenhaal has a brilliant understanding of the character, and the way that she conveys Leda’s struggles adds plenty of intensity that elevates this film into one that feels threatening and uncomfortable at times. As Leda becomes more involved in Nina’s life to the point where it becomes obsessive, she begins to become reflective and contemplates on her life while the current situation spirals out of control.

Olivia Colman is one of the best actresses working at the moment, and The Lost Daughter showcases her range and her ability to lead a character-driven film. Her performance as Leda is not only one of the best performances of the year and guaranteed to get her a slew of award nominations. The character of Leda is brilliantly written, and Colman proves to be fantastic casting. Colman’s Leda is an accumulation of the decisions that we see through the flashback scenes, so her performance feels more rewarding the more we learn about the character. Colman’s performance is nuanced and makes this film as brilliant as it is. We may not understand why Leda does certain things and why she chooses to do them, but it is this unpredictability that makes The Lost Daughter such a gripping film from beginning to end.

The film revolves around Leda and her life leading up to the present day and beautifully merges flashbacks that show her journey and success. Playing Young Leda is Jessie Buckley, another actress who has risen up the ranks in recent years and another example of perfect casting. Young Leda’s life is inundated with chaos as she tries to juggle her studies with caring for her young daughters, Bianca and Martha, meaning that Buckley’s performance is more expressive as we see the physical and mental strain that her life has taken. Leda’s relationship with her young daughters is highly turbulent, and she begins to enjoy the time she gets to spend away from them, eventually leaving them to pursue her academic career. Buckley’s performance complements Colman’s perfectly as they capture Leda’s personality flawlessly in a way that feels seamless.

Dakota Johnson plays Nina in a role that may be small but has a huge impact on the film. Marking a career best for Johnson, Nina is a woman who struggles between living a life that she wants and the one that is expected of her by her family and society at whole. Nina is on holiday with her daughter, Elena, and family, while her husband flits in and out due to work. When Elena goes missing, things become chaotic and Nina begins to doubt her role as a mother. After Leda finds Elena and returns her, Nina becomes indebted to Leda and wants to get to know her, but is kept at arm’s length. When we see Nina, it is usually from Leda’s standpoint as an observer, as we see her struggle to be a good mother and wife. Johnson really excels in her final scene, in which she confronts Leda as the latter admits that she stole Elena’s doll. What Johnson does excellently in the film is put across Nina’s inexperience and her desire to find control of her own life rather than having others control it.

One of the most striking elements of The Lost Daughter is Dickon Hinchliffe’s score, which has a blues sound to it. The opening track “Leda” is a wonderfully dynamic piece that thrusts the audience into the location and escapism of the film. Leda has gone to Greece to finish her work and relax, and this track perfectly accompanies this. What Hinchliffe manages to capture is Leda’s wonderment and the freedom she has, which is then contrasted with quieter pieces that are more drawn out during the flashbacks to capture how Leda is trapped in a life that was expected of her but one that she doesn’t really want. The contrast between musical styles is a great way of portraying the many sides of Leda’s personality, and accompanies her journey perfectly.

The Lost Daughter is a masterclass in subtlety. It doesn’t need to have bells and whistles to show off the craftsmanship of the script and direction, while providing stellar performances all around, especially from Colman. It’s an intricate character study following Leda’s life and the sacrifices she has made to get where she is while also drawing parallels with Nina. The slow pace of the film works beautifully as it goes hand in hand with the vacation aspect. What is really fantastic about The Lost Daughter is that it subtly plays with the thriller tone, without actually exposing any threat, but we feel Leda’s fear. Maggie Gyllenhaal absolutely hit it out of the park with her debut, and it’s exciting to see what she does next.

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

The Lost Daughter is available to stream on Netflix now!

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Don’t Look Up (2021)

Netflix’s Don’t Look Up is one of the most talked about films of recent months thanks to the cast which is packed with A-listers. Adam McKay’s dark comedy follows a research team followed by Dr. Randall Mindy (Leonardo DiCaprio) who discover that a huge comet is heading straight for Earth and will destroy it within a matter of months. Mindy and researcher, Kate Dibiasky (Jennifer Lawrence) head to the White House to convince the President (Meryl Streep) to destroy the comet before it hits the planet. With plenty of storylines and characters, Don’t Look Up is a film that has garnered polarising reviews with some loving the message on climate change while others feel that the execution falls short.

The film is directed and written by Adam McKay, whose previous efforts include 2018’s Vice and 2015’s The Big Short which combine politics and comedy. McKay is interested in recent political events and Don’t Look Up is his take on climate change. What made The Big Short and Vice so effective is that they had a tighter focus on a few characters so the films had a better flow in terms of the writing and direction. Don’t Look Up is a film that is filled with the world’s biggest stars and McKay clearly wants to give everyone a fair share of screentime. Unfortunately, the result of which seems to be a who’s who of Hollywood and the writing is crammed with too many storylines that it seems jilted in structure. It feels like the screenplay needed to go through an extra draft to finesse the story and ensure that the film has a better flow.

Jennifer Lawrence plays researcher, Kate Dibiasky, who is credited with discovering the comet, which is suitably named Dibiasky Comet. Dibiasky appears to be the voice of reason throughout the film although doesn’t have the skills to communicate her view properly which angers the authorities. Lawrence’s performance is perfect as she captures Kate’s feelings of despair and her outspoken nature. It’s great seeing Lawrence and DiCaprio act opposite one another and it feels like Lawrence actually steals the show thanks to the amount of depth that she brings to the performance. Don’t Look Up allows us to see Lawrence in a different kind of comical role that we haven’t seen from her before and she delivers.

In the male leading role is Leonardo DiCaprio who portrays research leader, Dr. Randall Mindy. As always, DiCaprio can be relied upon to give a great performance which he does but it does feel as though his character isn’t given much to play with in the same way that Dibiasky is. There are certain decisions that McKay made for the character which seem a bit confusing such as having Randall embark on an affair with news reporter, Brie (Cate Blanchett) which doesn’t add a lot to the overall plot while taking up a lot of time. What is confusing about this development is that it contrasts to everything else we learn about Randall and the way he lives his life. His affair seems to show that he is just as bad and sleazy as the authorities who want to mine the comet for minerals. Despite this, DiCaprio does a great job with what he’s given.

The supporting cast is absolutely huge and is led by none other than Meryl Streep and Jonah Hill as President Janie Orlean and her son, Jason Orlean, who is also Chief of Staff, respectively. Having Streep playing a President was bound to happen sooner or later, but rather than be a reliable source of wisdom and leadership, Janie Orlean is manipulative and power and money-hungry, seeing the comet as a money-making opportunity rather than a threat. Jason also proves himself to be extremely under-qualified for his role and has clearly gotten to where he is thanks to nepotism. The role of Janie Orlean feels a bit underwhelming in terms of development, which is a shame when you have Meryl Streep in the role while Jonah Hill is clearly given the chance to improvise and do what his does best – insult people within an inch of their lives in a hilarious way.

Don’t Look Up is a film that wears its message on its sleeve, but the execution falls a bit short due to the screenplay, which tends to flit around a lot. McKay has proven that he can work with an ensemble task and has even won an Oscar for his screenplay for The Big Short, but the magic he creates blending comedy and politics seems a bit lost amongst all the characters. It feels as though some storylines don’t blend well with each other, which may be the reason it has had such polarising opinions. This isn’t to say that Don’t Look Up is a film without its positives, however, as Jennifer Lawrence provides an excellent performance and Jonah Hill is a comedic standout in a role that feels like a classic Hill performance but it’s a film that should have been more consistent in it’s storytelling.

What did you think of Don’t Look Up? Let me know what you think in the comments below!

Don’t Look Up is available to watch on Netflix now!

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Passing (2021)

Passing is a film that appears to have slipped under many filmgoers’ radars but one that should definitely be watched. This Netflix film sees phenomenal actress Rebecca Hall in her directorial debut and follows Reenie (Tessa Thompson), a woman who encounters a childhood friend, Clare (Ruth Negga), who explains to Reenie how she has been able to “pass” as a white woman to make her life easier in a racist society. Clare has been so successful in her bid to pass as white that her husband, John (Alexander Skarsgård), has no idea that she is black. Reenie begins to see the allure of passing as white in a society that is still inherently racist but in doing so, she begins to experience a loss of self in her identity while Clare is struggling with the loss that has already happened and wants to reconnect with her heritage and the life that she previously knew.

The film marks actress Rebecca Hall’s directorial debut and she also provides the screenplay which has been adapted from the novel of the same name by Nella Larsen. What is visually striking about Hall’s direction is how timeless it feels despite being a period piece that is grounded in its 1920s New York environment. The first thing to note about the film is the decision to film it in black and white which not only highlights the racial issues discussed in the films, but it also provides that timelessness and allows the film to focus on the details of the writing rather than the colours. Hall’s script is beautifully written as she allows the story to naturally develop without feeling rushed so we become accustomed to both women’s nuances and mannerisms.

Leading the film is Tessa Thompson who plays Irene, or Reenie as she is known to her friends. Reenie learns how to pass as white from childhood friend Clare and while this idea may have seemed beneficial and advantageous initially, Reenie begins to experience a conflict with herself and the life she has established. Married to successful doctor Brian (André Holland), Reenie is keen on fighting for racial equality but her fascination and admiration for Clare and the idea of passing as white naturally conflicts this due to Clare’s life decisions and her detachment from her heritage. Thompson shines in this leading role and shows her dramatic range while also bringing depth and authenticity to Reenie and the struggles she is faced with as Clare’s ideology and the society that encourages such ideologies threaten to undo all the work she is has done in her life and the life that she has worked hard to achieve.

Ruth Negga has received acclaim and attention from various awards bodies including a Golden Globe nomination for her supporting turn as Clare. Contrasting to Reenie, Clare lives her life as a white woman and is married to the affluent John Bellew who is openly racist and comments on his wife’s complexion. What is brilliant about Negga’s performance is how magnetic Clare’s character is. As soon as she is introduced onscreen and observes Reenie from a distance, there is so much to gain from her mannerisms and fearless nature. In any other film, a character like Clare would be viewed as a person who is simply meddling in Reenie’s life but Negga works well to show Clare’s own struggles and her desires to break free from the trap that she has put herself in.

Alexander Skarsgård provides a brilliant turn as Clare’s racist husband, John Bellew. Skarsgård isn’t in the film a lot but in the few scenes that he is, his presence immediately shifts the tone of the film into horror or thriller territory as his racist rhetoric is threatening and aggressive immediately, especially in his first scene in which John constantly digs at Clare for her complexion which has been appearing “darker” than usual. John’s character is representative of the hatefulness in a racist society due to the openness in his comments and intimidating nuances that are extremely discomforting, especially towards Reenie when she first meets him.

One of the highlights of the film is the music which is composed by Devonte Hynes. Reflecting on the period of the film, the music incorporates elements of jazz while the score itself shifts and changes along with the tone of the film. Just as jazz itself is known for its unpredictable nature, the score channels Reenie and Clare’s inner conflicts as they try to figure out their sense of identity and self in a society that disregards people of colour and women of colour in particular.

Passing is one of those films that doesn’t need bells and whistles to show off the craftsmanship and nuances within. It’s a shame that it hasn’t received as much attention as it deserves because there are a lot of stand out performances, especially from Ruth Negga as well as Rebecca Hall’s impeccable script and direction which elevates the film beyond its time into a story that feels just as relevant today as it was when the book was first published. It’s this timelessness that makes a film like Passing incredibly important and necessary to discussions on race. If this is what Hall can deliver in her directorial debut then it foreshadows a lot of promise for her future directorial endeavors.

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

Passing is available to watch on Netflix now!

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Robin Robin (2021)

One of the most exciting additions to Netflix this year is Aardman’s latest short, Robin Robin. Following Robin (Bronte Carmichael), a robin who is raised by mice and longs to be a mouse who struggles to fit in with her family and is unable to gather food and complete tasks in the same way that they do. What follows is Robin venturing on a quest to forge her own identity and accept herself as a robin thanks to the friendship she forms with the Magpie (Richard E. Grant) and her terrifying encounter with the Cat (Gillian Anderson). A beautiful little adventure to be enjoyed by all ages, Robin Robin sees Aardman returning with something new and unique in terms of style and story to create a short film that feels timeless and relevant at the same time.

This is the first new Aardman project we have seen in a while and it has been directed and written by some new faces that promise to propel Aardman into a new phase. Robin Robin is directed by Daniel Ojari and Michael Please and co-written by Ojari, Please, and Sam Morrison and the result is a short film that has a completely different aesthetic thanks to its use of felt over clay while still maintaining Aardman’s sense of whimsy and charm that makes it so popular with families across the globe. The character of Robin is that she longs to be a mouse but she soon learns of the positives that come with her differences and the writing lends itself to this message beautifully. We feel Robin’s anguish as she struggles to fit in but her journey of self-discovery and self-acceptance is one that is relatable for everyone, especially in modern times.

Playing Robin is newcomer Bronte Carmichael who is brilliant and charming as she brings the naivety to the role. Robin is an extremely likeable character thanks to her kind nature and we feel sorry for her as she struggles to act like the members of her mouse family. We feel Robin’s confidence grow throughout the film as she begins to accept herself and her differences and this is thanks to Carmichael’s flawless performance as she conveys Robin’s struggles across perfectly. Despite the film’s short running time, Carmichael manages to capture a depth of Robin so that she is a protagonist that we really get to understand and we want her to succeed.

As with most Aardman productions, Robin Robin has its fair share of stars and the first of these is the always brilliant Richard E. Grant as Magpie. When it was first announced that Grant would be part of the cast, it seemed to be the perfect match and this is definitely the case. Magpie loves to collect shiny objects and hide them in his home inside a tree but he isn’t truly happy as he lives his life in fear. Together, Magpie and Robin work together in order to live a life that both of them enjoy and this is achieved when thwarting the Cat’s plan to kill them. Grant really captures Magpie’s longing for something more than hiding inside a tree and although Magpie may seem unlikeable initially, Grant does well to convey that there is something lingering beneath his cold exterior so we know that there is more to his story.

The villain in Robin Robin comes in the form of Cat who is voiced by the impeccable Gillian Anderson. It is established from the beginning that cats are to be feared and when Cat comes into the mix in her first encounter with Robin, it is genuinely terrifying as Robin struggles to fly away and has to use her intuition to escape. Like Grant, Anderson is a perfect choice for the role because of her ability to truly dig deep into the character despite the short running time. Cat may not have the same level of characterisation as Robin or Magpie but Anderson’s performance ensures that Cat’s menacing presence is felt through the latter half of the film.

There are wonderful music numbers dotted throught Robin Robin and this allows us to hear the starry cast really bring their characters to life. The song that Cat sings as she chases after Robin is sinister and calculated which is miles away from Magpie’s song as he shows off his shiny collection of objects to Robin. The songs help to pace the film nicely while also giving us a glimpse into these characters without having to spend a lot of time doing so.

Robin Robin sees Aardman at their best by venturing into new stop motion territory by using felt models that look beautiful that fit perfectly into the Christmassy aesthetic. Combining different styles, Robin Robin is a heartwarming tale that weaves different plot points together perfectly in its climactic scene. Starring newcomers and familiar voices, these characters and the message it brings is a perfect story for those looking for a warm-hearted Christmas treat for all the family.

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

Robin Robin is available to watch on Netflix 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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Wrong Turn (2021)

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

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

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

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

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

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

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

Wrong Turn is available to watch on Netflix now!

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Army of the Dead (2021)

One of the biggest releases this weekend was Zack Snyder’s zombie blockbuster, Army of the Dead which made it’s way to Netflix on Friday. After his success with his Dawn of the Dead remake in 2004 (the original of which is arguably the best zombie film of all time), it was great to hear that Snyder was returning to the apocalypse on an even bigger scale. Boasting an all star cast and a unique concept, Army of the Dead sees Las Vegas overrun by zombies who are swiftly contained within the area. The survivors who managed to escape the containment are approached by a casino owner who gives them the task of getting back into Vegas to his casino and getting $200 million that has been stored in its underground vault before Vegas is nuked by the government. The survivors, led by Scott (Dave Bautista) have to face zombies that have super speed and strength while also facing an intense countdown.

Army of the Dead was greenlit in 2007 but faced a series of problems in pre-production before Netflix bought the rights in 2019. Unfortunately, a lot films that experience development hell for long periods of time like Army of the Dead suffer due to constant rewrites and differing directorial visions. This seems to be the case with the film. While the concept and basic idea has a lot of promise, the actual execution seems to clash in a lot of ways which causes the pacing of the script and characterisation to suffer. We see the initial outbreak take place over a ten minute montage at the beginning followed by forty minutes of set up before we even revisit the site. While setting up a plot isn’t a bad thing by any means, it feels as though the introductions for each character are too brief and not characterised enough, especially Scott.

In the leading role of Scott, Dave Bautista does a great job bringing that action star quality to the film. He does the best with the material written and his chemistry with the other survivors, especially his friend, Maria Cruz (Ana de la Reguera). Where the film fails Bautista’s character is the way they try to push his relationship with his estranged daughter, Kate (Ella Purnell). Sadly, it feels like the dialogue between them is artificially forced whereas there is a much more natural chemistry between Scott and Maria so having more scenes between them would have enhanced their characterisation and made the film that much stronger

With a huge cast, it’s inevitable that not everyone is going to get the same amount of attention or screentime which can affect the characterisation. The most controversial being Tig Notaro’s character, Marianne, who has her main bulk of screentime in the final act of the film as the character had to be recast during filming which meant that they only had limited time with Notaro. Considering Marianne is the pilot who is tasked with getting the group in and out of Vegas, she definitely would have been in it more was Notaro cast in the role from the very beginning. What we do see from Notaro is great and she brings her signature deadpan delivery which makes the final scenes of the film really enjoyable to watch. Another great supporting turn is from Matthias Schweighöfer who plays locksmith expert, Dieter, whose job is to break into the safe. As one of the smaller characters in the ensemble, it wasn’t expected that he would be given a lot of characterisation beyond the basics or screentime but what we do see is great. Schweighöfer’s performance is charismatic and funny, bringing a lighter touch to the film.

When watching a zombie film, the most important aspect is the design and special effects involved. This is definitely a plus for the film as the zombies are a similar design from Snyder’s remake Dawn of the Dead making it believable that it could be within the same universe. At the same time, there are more unique inclusions such as a zombie tiger as well as some comical touches such as a zombie Elvis who is featured in the montage at the beginning. It feels as though there is a lighthearted approach to some of the ideas while still maintaining the gore level expected from such a film.

Overall, Army of the Dead is a film that is full of interesting ideas and if you are a fan of zombie flicks, it’s definitely worth a watch. However, it seems that there is tightness missing from the story as the pacing suffers badly while the two and a half hour running time could have easily been cut down to create a better viewing experience. It would be great to see if this film receives a sequel that furthers the story and hopefully brings a sharper focus to the characters and the writing. In the meantime, there is a prequel and an anime series in the works that will look into the characters before and during the events of Army of the Dead so hopefully, we’ll get to know the characters a lot better.

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

Army of the Dead is available to watch on Netflix now!

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Eurovision Song Contest: The Story of Fire Saga (2020)

One of Netflix’s big releases last year was Eurovision Song Contest: The Story of Fire Saga. Starring Will Ferrell and Rachel McAdams as Icelandic duo, Fire Saga, this film has been a hit with audiences around the world thanks to its sweet homage to the titular event that is loved around the globe. Directed by David Dobkin from a script written by Ferrell and Andrew Steele, Eurovision Song Contest is a charming film sprinkled with lots of humour. We follow Fire Saga’s journey from local performers to the Eurovision final which is set in the UK. With the first act of the film set in the small Icelandic town of Húsavík and the latter acts set in Edinburgh.

Will Ferrell’s performance as Lars is definitely the comic relief of the film. Lars is over the top and extremely eccentric, letting nothing stop him in his quest to win Eurovision. Ferrell brings his best performance in years as he gives space for the relationship between Lars and Sigrit to take centre stage. Of course, Ferrell provides us with his signature humour full of double entendres and physicality but it seems toned down and more controlled compared to past roles. What is clear in Ferrell’s performance is that he obviously has respect for Eurovision and doesn’t want to make fun but use the film as a tribute. Extremely funny and with a hilarious script, Ferrell displays what has made him one of the best comedic actors in mainstream cinema today.

Rachel McAdams’ as Sigrit is the highlight of the film. I was a bit disappointed to learn that she didn’t do her own singing but her performance aside this is still brilliant. What makes Sigrit such a great character is her love for Iceland and its traditions. She asks elves for help, often bringing them gifts in exchange for good fortune at Eurovision. Her affection for Lars is evident and she is unafraid to follow her own path despite what her family and friends say. Where Lars is dead set in his exaggerated vision in a bid to please a larger audience, often not telling Sigrit of any changes, it is down to Sigrit to provide that sense of home to the film. Inspired by her unrequited love for Lars, she writes “Húsavík” in which she incorporates the Icelandic language whilst also showing the image of how it feels to live in such a small town. It’s nice to see McAdams in a comedic role after a slew of successful dramatic roles which includes her Oscar nominated performance in 2015’s Spotlight.

As the film is a musical it’s important to talk about the songs. Starting off with the brilliant “Volcano Man” as the band practice in Lars’ basement to the Eurovision contender “Double Trouble” and the gloriously climatic “Húsavík”, Eurovision Song Contest is full of catchy, brilliant songs. With an eclectic mix of original songs and covers, this film has a soundtrack that is entertaining and memorable. I think that the original songs in particular have a perfect blend of fun Euro pop and softer ballads while also bringing in past Eurovision winners and contestants for an iconic mashup event. Admittedly, I have been playing “Volcano Man” and “Húsavík” because I think they’re so brilliant.

Overall, Eurovision Song Contest is an entertaining thrill. The reason I didn’t watch this film on release was because I was unsure whether it was worth the watch and I didn’t think I would enjoy it, however, I regret not seeing it sooner. From the brilliant soundtrack to Rachel McAdams’ fantastic performance (even if it isn’t her singing voice), this film is deserving of the praise it has received and is a lot of fun to watch. Ferrell and McAdams make a great onscreen duo and work really well together as the chemistry between them works perfectly.

What did you think of Eurovision Song Contest? Let me know in the comments below!

Eurovision Song Contest: The Story of Fire Saga is available to stream on Netflix!

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The White Tiger (2021)

Ramin Bahrani’s latest feature premiered on Netflix to international acclaim. The White Tiger tells the story of one man’s ascendancy to success from his humble beginnings. Based on Aravind Adiga’s 2008 novel of the same name with the script written by Bahrani, The White Tiger is an intricate character study that shows the contrast between two worlds and how the two collide. Set against a backdrop where those from poorer backgrounds are led to believe they can achieve greatness without actually receiving the appropriate funds to do so, Balram uses his intuition and determination to rise above his station by getting himself hired as a driver for an extremely wealthy and influential family.

Bahrani’s direction is stunning and perfectly captures the conflict between the two worlds that Balram is exposed to. As Balram becomes accustomed to the way the rich live, he begins to see the corruption that helps to keep them at the top and how this seeps into the government as well. Through his writing, Bahrani forces the audience to read between the lines and look at Balram’s experience as the experience of India on the whole. Even the enveloping narrative structure of the film where Balram recalls his life through an email to the Chinese Premier in itself is an act of the protagonist’s aim of furthering himself both financially and economically.

Adarsh Gourav’s performance as protagonist, Balram, is captivating and hugely impressive for his first leading performance. With the weight of the film resting firmly on his shoulders, Gourav brings Balram to life perfectly combining his determination and ruthlessness to deliver a performance that is truly magnetic. Acting among huge Indian stars, Gourav holds his own and establishes himself as a star in the making. As Balram delves deeper into the world of the rich, his sanity and stability start to become compromised and Gourav really excels during the second half of the film as this happens. It’ll be excited to see where Gourav’s career takes him, especially considering how well he has done in his first leading role. The White Tiger has secured his position as one to watch.

In support we have Rajkummar Rao and Priyanka Chopra Jonas as Balram’s boss, Ashok and Ashok’s wife, Pinky. Ashok is such a fascinating and layered character as he has returned from America and is more liberal and lenient in his approach towards the people who work for him and his family, quickly striking up a friendship with Balram. However, when it comes to mistreatment, he stays quiet as he is indoctrinated by the traditions set out for him. His wife Pinky, Indian born and raised in America is perplexed and disgusted by the mistreatment of Balram at the hands of Ashok’s brother and father. Unapologetically outspoken, Pinky is like Balram as she is an outcast as well and refuses to fulfil the silent, obeying wife that is expected of her. Both Rao and Chopra Jonas are perfectly cast in their roles bringing a sense of unpredictability and fun to the film, especially during middle portion as their relationship with Balram grows.

Overall, The White Tiger is a gripping film filled with unpredictability and keeps your attention thanks to its brilliant character and beautiful aesthetic. With a stellar cast and stunning direction, this is a fantastic film that should be praised for its incredible script and flawless cinematography. This drama is sure to have you gripped from the first scene as the film descends into the chaotic events without feeling clunky or out of place. It’s been left out of the Golden Globe nominations but it would be great to see this film receive Academy Award recognition for its script and cinematography which is where this film really shines.

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

The White Tiger is available to watch on Netflix now!