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Malcolm and Marie (2021)

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

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

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

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

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

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

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

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

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

Malcolm and Marie is available to watch on Netflix now!

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The Dig (2021)

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

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

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

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

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

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

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

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

The Dig is available to watch on Netflix now!

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Pieces of a Woman (2020)

A little bit late watching this one but better late than never. Pieces of a Woman is the heartbreaking drama following Martha (Vanessa Kirby), a woman who loses her child during birth. Directed by Kornél Mundruczó and a script written by Kata Wéber, Pieces of a Woman is a film that is an absolute masterclass of acting by all involved. A really poignant portrayal of grief and how difficult it is to find closure from such a traumatic event. With supporting turns from Shia LaBeouf and Ellen Burstyn who play Martha’s partner, Sean and mother, Elizabeth, respectively, this film is not an easy watch by any means for obvious reasons but it is an intricate character study that feels authentic while shedding light on an issue that is commonly unspoken off due to taboo. The film premiered at the Venice Film Festival where it received unanimous praise and Kirby walking away with the Best Actress prize. Scooped up by Netflix, Pieces of a Woman has been in the awards race for a while and eagerly awaiting its release.

The first thing to discuss is the opening half hour in which we see the excruciating birth scene in which Martha has a difficult labour with tragic result as the baby dies shortly after being born. With her original midwife caught up with another birth, replacement Eva (Molly Parker) steps in to assist Martha. This opening act is by far one of the most unflinching scenes I have come across as we see the whole birthing process from the relief when the baby is born to the tragic death a few moments later. The way it is directed is relentless without giving a moment to breathe to the point where the scene completely immerses the audience into its chaos. The physical pain of the situation is too much for Martha that she quickly becomes deranged and cannot control what she says or the sounds she makes. Knowing what the scene is going to result in and seeing that level of distress makes the experience of watching it even more devastating.

Kirby, previously known for her stellar performance as Princess Margaret in the first two seasons of The Crown, pulls out all the stops as grieving Martha. Her acting is on par with actors who have been giving decades of flawless performances. We feel Martha’s physical and emotional pain in the first act and that devastation as she comes to terms with what has happened. Although the film doesn’t have the same level of momentum as the first act, Kirby keeps us gripped as she delves into Martha’s inability to move on or seek help for her trauma. Initially Martha wishes to remove any proof that the baby even existed hoping that this will help her to move on to the next chapter but she feels pulled back by her family, especially her mother, who insists that they should hold a funeral for the baby before burying her. It’s clear that Martha wants to move on but just doesn’t know what to do in order to be able to. The scene in which she testifies at Eva’s trial and is forced to describe what her birthing experience was like is hugely intense with Kirby using that intensity to deliver her performance through movement and emotion and not just by her words.

In support we have Ellen Burstyn as Martha’s overbearing mother, Elizabeth. She clearly has Martha’s best interest at heart but she doesn’t allow her daughter to truly have space to grieve and this puts an enormous amount of friction on their relationship. Burstyn makes the most of the small role she has as is expected of her and proves to rise to Kirby’s leading performance. Her speech to Martha about her own birth and upbringing hammers home just how great Burstyn is. I would have liked to have seen more scenes between Elizabeth and Martha just to show more of their relationship dynamic rather than the limited arguments we see. I think that the film would have benefitted from seeing how they act around each other when things are more settled.

Overall, Pieces of a Woman may fall a little short in terms of keeping a steady momentum in the script following the incredible first act but the strong performances, particularly by Kirby make it a film to watch this coming awards season. I have no doubt that Kirby will lock in her first Academy Award nomination and hopefully this is a sign of a fruitful career for years to come.

What did you think of Pieces of a Woman? Let me know in the comments below!

Pieces of a Woman is available to stream now on Netflix.

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Crip Camp (2020)

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

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

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

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

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

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

Crip Camp is available to watch now on Netflix.

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The Forty-Year-Old Version (2020)

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

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

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

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

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

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

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

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

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The Midnight Sky (2020)

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

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

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

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

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

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

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

The Midnight Sky is available to watch now on Netflix.

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The Life Ahead (2020)

After a short break to celebrate Christmas, I am back with the awards season viewings. I hope everyone had a lovely time and got to spend it with the ones you love. My next review is all about a film that had much hype thanks to the comeback of the legendary Sophia Loren in this wonderful drama directed by her son, Edoardo Ponti. The Life Ahead stars Loren as Madame Rosa, an ex-prostitute and Holocaust survivor who takes in Momo (Ibrahima Gueye), a young Senegalese boy after he robs her in the street. With polar opposite backgrounds and an inability to see eye to eye initially, The Life Ahead explores the developing relationship and kinship between Rosa and Momo as they begin to find common ground.

The film itself is only 95 minutes with the screenplay written by Ponti and Ugo Chiti and is based on the novel, The Life Before Us by Romain Gary. Making the most of every second, we are immediately thrust into the robbery scene by way of a flashback after being introduced to Momo who has run and hidden from Madame Rosa’s friend, Lola (Abril Zamora) with no explanation. Rather than spoon feed the audience on who is who, we are naturally introduced to characters as the story develops. We are not given all the answers in terms of background but Ponti has brought a natural approach to his writing and directing.

Seeing Sophia Loren back on the silver screen is always a welcome presence. Having made her name during the Golden Age of Hollywood, Loren won her competitive Oscar in 1961 for her leading performance in Vittorio De Sica’s Two Women which is my all time favourite Lead Actress Oscar winning performance. If you haven’t seen Two Women then make sure you do as soon as you can. As the years have gone by, Loren has taken on fewer projects and The Life Ahead is her first big leading role since the early 2000s. Madame Rosa is a stern and hard woman who has survived the toughest of trials and tribulations. Living in a society where she has been ostracised and outcast, she has made herself an important staple of the community and it’s easy to see the positive impact she has, especially among those who struggle the most. Taking care of the children of prostitutes, Madame Rosa provides the support for others that she never had. Loren is revolutionary in the role and proves yet again why she is one of the best actresses of all time. Her range and ability is astonishing that completely dismisses any claim that she is nothing more than a sex symbol.

Newcomer Ibrahima Gueye is fantastic as troubled child, Momo. Struggling to find his own identity and inspiration, Momo is reluctant to move in with Madame Rosa as he fails to follow the rules initially. As he gets to know Rosa and her backstory, he begins to respect her and grows concerned when she begins to zone out and walk off. It’s not easy to act opposite a huge actress, especially one so renowned as Loren, especially if you are a newcomer but Gueye and Loren match perfectly and the friendship between them is nice to see. Gueye really holds his own as Momo is faced with his own demons, tangled in the world of drugs and learning to understand how the real world works. It is the character’s innocence mixed with Rosa’s life where the two are able to find that common ground and grow a friendship. The same could be said from the acting perspective as Gueye is a newcomer combined with Loren and it is the performances and the scenes between them that elevate the film overall.

Some reviewers have commented on the formulaic quality of the film but I actually like the simplicity of the structure and layout. When working with someone as legendary as Loren, it allows the performance to breathe and grow without becoming overwhelmed by a complex narrative. The Life Ahead is one of my highlights of the year because it feels timeless and integral at the same time. The interweaving issues of religion and identity are discussed at length without being brought forth in a clunky manner seen in a lot of films. Loren lets us feel Madame Rosa’s pain through her acting rather than through words and it is this that makes it one of the most subtle and beautiful performances of the year.

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

The Life Ahead is available to watch on Netflix now!

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2021 Awards Season

It goes without saying that the pandemic has certainly flipped every sector of life upside down. In terms of films, we have seen the industry reach a point where the fate of cinemas will now be in the hands of 2021. In the meantime, we have seen the majority of award frontrunners released on streaming websites, particularly Netflix who have a huge chunk of award worthy films this time around. The topic of streaming service films being up for major awards has been subject of much debate. I personally think that a film that can transfer the emotion and grandeur from the big screen to small screen and still keep its impact is a hugely difficult challenge and commend filmmakers who are able to do so.

Bearing this in mind, in the 13 years I have actively followed awards season, watching films for this awards season is turning out to be a unique experience. I love the fact that I can revisit the films for multiple views whenever I want. That being said, I cannot wait for cinemas to reopen and experience the full magic of the movies again.

I’ll be discussing my award season predictions in a week or so when I have watched a few more but for now, I’ll be leaving the links to the reviews I have written thus far and add to them as my film list grows.

Here is the list:

Ammonite

Another Round

Borat Subsequent Moviefilm

Crip Camp

Da 5 Bloods

The Dig

Eurovision Song Contest: The Story of Fire Saga

The Father

The Forty-Year-Old Version

Hillbilly Elegy

The Human Voice – short film

I Care a Lot

I’m Thinking of Ending Things

Judas and the Black Messiah

The Life Ahead

Lovers Rock

Ma Rainey’s Black Bottom

Malcolm and Marie

Mangrove

Mank

The Midnight Sky

Minari

Nomadland

On the Rocks

One Night in Miami

Palm Springs

Pieces of a Woman

The Prom

Promising Young Woman

Saint Maud

Soul

Sound of Metal

The Trial of the Chicago 7

The United States vs. Billie Holiday

The White Tiger

Wolfwalkers

There are so many more films for me to see and I am very excited. I’ll be posting links to those reviews in this article as well so you can follow any updates here.

Which film has been your favourite so far? Any potential Oscar winners on your list? Let me know in the comments below!

Most importantly, stay safe and happy holidays!

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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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Ma Rainey’s Black Bottom (2020)

Continuing my awards season viewing with this fantastic stage to screen adaptation of August Wilson’s play of the same name. Ma Rainey’s Black Bottom follows the titular Ma Rainey (Viola Davis), a blues singer and her band as they spend the day recording a new song in a studio in Chicago. Directed by George C. Wolfe and adapted by Ruben Santiago-Hudson, Ma Rainey’s Black Bottom is a masterclass in acting performance, particularly by Viola Davis as the vivacious Ma and Chadwick Boseman is astonishing as band trumpeter, Levee.

The film is produced by Daniel Washington as part of a 10 film deal and follows 2016’s Fences. Washington directed Fences and decided to keep the original play script by Wilson as the film shooting script. This caused some restrictions as film and stage are naturally so different that the transition between the two is not always seamless. Sometimes the dialogue between characters can carry too much exposition onscreen which can make a film feel clunky. What Ma Rainey’s Black Bottom successful is Santiago-Hudson’s adaptation of the script to lift it from stage to screen. What Santiago-Hudson does is elevate the dialogue so it has more flow and rhythm for the film’s fast pace without compromising the integrity of Wilson’s original script. He also keeps it as restricted as possible in terms of location meaning that it is an extremely loyal adaptation. This is how plays are meant to be adapted from stage to screen.

To say Viola Davis’ performance is transformative would be a huge understatement. She becomes Ma in such a way that you really forget that it is Davis beneath the character. I have written on Davis’ top performances in the past (which you can read here) and her performance as Ma would easily sit among them. From the moment she commands the screen belting out numbers to large crowds, it’s clear that Ma is a force of nature. A character who knows her worth and knows what she wants and isn’t afraid to express this. It’s easy to see what drew Davis to the role and she fits it so perfectly. As a black woman, so many people, particularly her white manager, try to dictate the creative choices and tell her what sells but Ma knows her fans the most and will know what they want.

Also being campaigned for lead is the late Chadwick Boseman as rebellious trumpeter Levee. Sadly losing his fight against cancer earlier this year, Boseman leaves behind a legacy that has resonated with so many fans around the globe. Rounding off his professional career posthumously have been Spike Lee’s Da 5 Bloods (you can read my review here) and Ma Rainey’s Black Bottom. Whereas the former will likely see him nominated for a Supporting Actor gong, it is this lead performance in Ma Rainey’s Black Bottom that could secure him a well-deserved win. Levee is a dreamer who wants nothing more than to write songs and perform his own way. His strong personality clashes greatly with Ma who constantly puts him down. Like his character, Boseman never misses a beat and remains upbeat and charismatic throughout. Captivating the screen with his strength, this performance is definitely among the best of the year. This performance is definitely one to beat in the Oscars race next year for sure and it’s heartbreaking that Boseman isn’t here to see the legacy that he has left behind. A true icon who was showcasing a huge range.

Overall, Ma Rainey’s Black Bottom did not disappoint and will undoubtedly provide a slew of Oscar nominations and hopefully wins, particularly for Boseman. A beautiful swansong to sing out his legacy in a performance that is so captivating and demands to be watched and then watched again to really get under the layers. Where Ma Rainey’s Black Bottom really succeeds is showing the struggle of black women in a society that dictates how they should be. Ma is constantly told how she should act and what she should sing. Not only does this show degradation of her as a character but also the African-American culture as a whole. The final scene in which an all white band perform one of Levee’s songs only supports this.

What did you think of Ma Rainey’s Black Bottom? Let me know in the comments below!

Ma Rainey’s Black Bottom is available to watch now on Netflix.