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The Northman (2022)

The film that I have personally been most excited about this year is Robert Eggers’ The Northman. Based on the legend of Amleth, the story follows Amleth (Alexander Skarsgård) as he vows to avenge his father, King Aurvandill (Ethan Hawke) who died at the hands of his bastard brother, Fjölnir (Claes Bang), and save his mother, Queen Gudrún (Nicole Kidman) who was kidnapped by the latter. The plot itself is fairly simple as we follow Amleth’s quest across the seas to Iceland, but as ever with Robert Eggers’ films, The Northman ventures into great characterisation as we get to see Amleth’s emotional development throughout. The film has been marketed as an action epic adventure which it is, but it is also a drama steeped in trauma as Amleth tries to complete the impossible and seek justice from those who have wronged him. The film features one of the best casts of the year as it also includes supporting turns from Anya Taylor-Joy and Willem Dafoe, as well as a brilliant turn from Björk, who makes a return to acting after more than a decade away from the silver screen.

The film is directed by Robert Eggers who cowrote the script with Sjón, a frequent collaborator with Björk. The first thing that is noticeable about The Northman is that it is Eggers’ largest project in scope and budget as his previous films, The VVitch and The Lighthouse utilise minimal locations and characters whereas The Northman features an array of different characters as Amleth makes his way cross-country to avenge his father. The direction and writing seems more suited for mainstream audiences than Eggers previous efforts (you can read my thoughts on those here), but this isn’t necessarily a bad thing. What Eggers manages to achieve with The Northman is his ability to make a film of a larger scope that is suitable for a general audience.

Alexander Skarsgård has garnered a reputation thanks to his action-based roles, but his dramatic turns have often gone wrongly unnoticed such as his amazingly uncomfortable performance in The Diary of a Teenage Girl (read my review here). The actor playing Amleth not only has to demonstrate a huge level of physical fitness, but they also have to be capable of conveying the character’s emotional journey and the burden that he is faced with. This is what makes Skarsgård perfect for the role over the physical aspect as you can see with every strike of his sword that there is the ulterior motive and bigger picture in Amleth’s face. What makes Skarsgård’s performance so brilliant is that the character of Amleth is not invincible or incapable of feeling pain as he is beaten down plenty of times by his foes, but this seems to drive him further to outfight them constantly and this emotional battle that Amleth has eventual manifests into uncontrollable rage.

The film is specifically a singular character journey as we follow Amleth’s quest, but that doesn’t mean we don’t encounter plenty of other brilliant characters along the way. The main supporting character comes in the form of Olga, a sorceress who fights against those who threaten her and proves herself to be a perfect balance for Amleth as she brings out his human side. Playing Olga is the incredible Anya Taylor-Joy, who has showcased a fantastic range in her relatively short career. Giving her the chance to reunite with Eggers following her breakout in his debut feature, The VVitch, Taylor-Joy’s performance is strong and determined, as she longs for a life away from slavery as she bids to be free. Another brilliant supporting role comes from Nicole Kidman, who plays Amleth’s mother, Gudrún, as she displays an ethereal quality that makes her seem untouchable even though she is within Amleth’s gaze for a lot of the film, while proving that there is a darker side to her character than what may seem.

What I was most looking forward to when it came to watching this film was the return of Björk to the big screen. Despite very limited screen time, Björk’s performance is visually striking, and her presence has a lasting effect on the entire film thanks to her eerie turn as the Seeress. Not only is the performance integral to the overall plot as she tells Amleth of his fate as he readies himself to journey to Fjölnir, it brings a supernatural and otherworldly quality to the film that provides escapism from the chaos that surrounds Amleth’s reality. Hopefully, this small role encourages Björk to take on even bigger roles and sees her return to the big screen sooner rather than later.

From the outset, The Northman is a visual feast for the eyes thanks to cinematographer, Jarin Blaschke, who perfectly captures the medieval setting of the film and does a perfect job balancing out the light and shadow of the natural landscape. What Blaschke manages to achieve is conveying Amleth’s point of view to the audience by merging the real and the supernatural, so it becomes one perspective throughout. Because we are seeing the world through Amleth’s eyes, there are certain events that can be misinterpreted or wrongly perceived due to Amleth’s error and Blashcke puts this across perfectly.

The music in The Northman has been composed by Robin Carolan and Sebastian Gainsborough who provide a wonderful soundtrack that incorporates sounds of the time and instruments that would have been used, while ensuring that it adds to the tension and action that is happening onscreen. Just as we see Amleth’s emotional journey visually onscreen, the music provides a perfect backdrop to this so the film becomes a sensory experience and the audience can really emote with Amleth and his struggles.

The Northman may appear to be an action film when it comes to its marketing, but the film delves into deep characterisation and seeks to explore Amleth’s motivations and the emotional journey he takes from the moment his father dies to seeking out his revenge. As expected with an Eggers film, the film is brutal and unflinching in its visual while boasting a script that perfectly captures the essence of the time period and culture to really immerse the audience. The Northman is Eggers’ biggest film to date in terms of budget and scope, clearly demonstrating his ability to grow as a filmmaker as well as demonstrating how his vision can fit in with mainstream audiences.

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

The Northman is available to see in cinemas now!

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Being the Ricardos (2021)

One of the films that Amazon Studios is pushing this awards season is Aaron Sorkin’s Being the Ricardos which follows a week in the life of TV superstar Lucille Ball (Nicole Kidman) and her husband, Desi Arnaz (Javier Bardem) in which the former is accused of being a member of the Communist party and has to wait to see how the media portrays this which in turn could threaten to kill her career. This biopic weaves in and out of the studio as Ball has to balance dealing with her professional and personal life from the domestic dynamics with her husband to the business meetings with studio heads and legal teams as they plan for the turbulent week ahead. Despite covering a short period of time, Sorkin is able to cover a wide emotional spectrum and brings one of television’s brightest stars to life in this whimsical drama that harkens back to the golden age of film and television.

The film marks Aaron Sorkin’s third directorial effort and he naturally provides the script as well. The script follows an intense week as it has emerged that Lucille filled a form stating she was a Communist decades before which the media has managed to get ahold of. During this week, we see Lucille grapple with the possibility that her career may end as well as the news emerging that she is pregnant while also having to deal with one of the most iconic episodes of her TV show. All of this chaos weaves together to create a tapestry of Lucille’s life in a way that we are able to get a clear view of who she is without feeling overwhelmed by the script.

Nicole Kidman has been experiencing somewhat of a resurgence in recent years, although it could easily be argued that she never really went anywhere at all and has always pulled out great performance after great performance. Her turn as Lucille Ball, however, is among her best performances as she inhabits Ball’s mannerisms and quick wit. From beginning to end, Kidman is dedicated to the character and we experience the struggle Ball faces from within the male-dominated industry and those in the media who threaten to end her career when it is unveiled that she once ticked a box as “Communist” when she was younger. Undoubtedly, Kidman will be receiving a lot of awards attention and it is well-deserved as she is absolutely gripping and does a fantastic job when reenacting filming the scenes from I Love Lucy. Kidman’s performance is strong and commanding and her presence is felt in the moments that she is not which proves the strength of the character and Kidman’s interpretation.

Paired with Kidman is none other than Javier Bardem who plays Lucille Ball’s husband, costar, and producer, Desi Arnaz and he proves himself as the perfect choice to play alongside Kidman’s powerhouse performance. While Kidman has deservedly been receiving an abundance of praise for her performance, Bardem’s turn as Arnaz shouldn’t be forgotten either. His performance is electric and he brings out a career-best since his Oscar-winning turn in No Country For Old Men. Bardem has always proved that he can act in a variety of different genres with ease and playing someone as iconic as Desi Arnaz could have been extremely challenging for any other actor but not Bardem. We get to see Arnaz in his element as he performs in the bars but this is then contrasted with the stresses he faces at work and the reality that he lives in a world that expects the husband to be the provider and the head of the family and yet Lucille seems to be the headliner and more popular than he is. Bardem’s chemistry with Kidman is fantastic and they work well at showing the ups and downs of a very public marriage.

As expected from any Sorkin project, this film has a strong supporting cast and J. K. Simmons, in particular, provides one of the most heartwarming and funny performances that are among some of the film’s highlights despite him having a limited amount of time onscreen. Simmons plays Ball and Arnaz’s I Love Lucy costar, William Frawley, who has spent decades in the industry and has experienced the ups and downs that come with it. Simmons’ portrayal of Frawley is one of sentiment and sadness as he has an awareness of his own drinking problem while also advising Lucille on how to make life easier for both herself and Desi. What makes Simmons such a brilliant actor is his ability to tap into a character’s psyche and really bring out a rawness and depth that is not often seen but even with a small role, the performance makes such a huge impact on the film’s dynamic as well as proving to be integral to the script.

Another highlight of the film is its score which is provided by Daniel Pemberton who has quickly established himself as a brilliant composer and has worked on a wide variety of films. His score for Being the Ricardos feels classical and nostalgic while also providing undertones of thrillers as Pemberton plays on Ball’s ongoing struggles and the looming threat that her career may be coming to an end. The scenes in which Lucille and Desi argue amongst themselves are undercut by ominous and threatening strings that bring plenty of tension.

Being the Ricardos takes us back to a golden age in television and is filled to the brim with strong performances from the leading and supporting cast. Paired with Sorkin’s innovative direction and beautifully paced script, it is a film that does a great job at capturing the hectic celebrity lifestyle behind the scenes while also showing the delicate balance required in order to stay at the top. As Ball’s career is threatened by a form she filled in decades prior as well as having to deal with misogynists on a regular basis. Kidman is undoubtedly the star of the show and proves yet again why she is one of the best living actresses thanks to her fearless approach to the character and her ability to capture every aspect of Lucille’s personality.

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

Being the Ricardos is available to watch on Amazon Prime!

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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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Bombshell (2019)

One film that has brought much buzz among the acting categories is the Fox News centred biopic Bombshell. Following numerous women working at Fox and their experiences of sexual harassment at the hands of their boss, Roger Ailes, the audience follow the lives of three women at different levels of their careers are observed. At the top of the game there is Megyn Kelly (Charlize Theron), then there is recently fired anchor, Gretchen Carlson (Nicole Kidman) and at the bottom of the tier is newcomer Kayla Pospisil (Margot Robbie) who is based on a culmination of women who worked at Fox. This was not a film I thought would be as gripping or exploitive as it was but this film contains some very upsetting material that shows the trauma that women are forced to endure in order to be successful. The event that acts as a catalyst is Kelly’s encounter with Presidential candidate Donald Trump who tweets various misogynist insults her way after a challenging exchange during the Presidential debate. We see Kelly’s world turned upside down as her and her family’s livelihood is at stake at the hands of a ruthless paparazzi and a passionately threatening audience. Simultaneously, Carlson is fired from her position and seeks to sue Ailes for sexual harassment which is described as a money grab from those at Fox. Overall, it is a film that shows the hardship of women and how dangers in the workplace seep into their personal lives. Directed by Jay Roach and written by Charles Randolph, Bombshell allows its female protagonists to develop and grow while showing their vulnerability and resilience in their quest to end the patriarchal harassment that has humiliated women at Fox over the years.

Charlize Theron is so brilliant as Kelly. In the same vein as Monster, Theron transforms into her subject and manages to perfect every detail about them. Completely deserving of the nominations that she has received, Theron’s Kelly is poised, collected and observant. She is a woman who will not be messed around. This makes the scene in which she opens up about her experience with Ailes shocking considering her strength and influence in the workplace. During the conflict with Trump, Kelly doesn’t make any vengeful comments back and instead is aware that Fox’s access to Trump during the Presidential campaign is crucial. She is able to put her own motivations to the side. It is when she puts herself first that a wave of women from Fox come out and discuss their experience. It’s no surprise that Theron has garnered her third Oscar nomination for her portrayal as this controversial figure. She has this command when she is on the screen and a strength that makes it even more shocking when comments about her menstruating are used as an excuse for her challenging nature. She is constantly given a harder time because she is a woman and not taken as seriously as her male counterparts. Equally, Kelly has respect for Ailes and when the accusations come to light, she faces a struggle between her genuine loyalty to him and the truth. In the end, she realises that she must go with the latter but this isn’t a decision that comes easy or without consequence.

In terms of our supporting protagonists, we are given Margot Robbie and Nicole Kidman as newcomer Kayla Pospisil and fired anchor Gretchen Carlson, respectively. Robbie is beyond outstanding in support and continues a stellar year. The scene in which her character is harassed and forced to show her crotch to Ailes is extremely upsetting and difficult to watch. We see Robbie’s brilliantly layered expression as she is clearly distraught and uncomfortable herself at having to do this but she knows she must grin and bear it for risk of being fired. Kayla is a fictional character but the development of her character and the depth that she is portrayed with feels very real. The idea to accumulate multiple women into one has served Randolph’s script well as it allows various perspectives to be shown without confusing or overloading the audience with too many characters. Robbie gained an Oscar nomination for her portrayal and it is so deserved. Time and time again, Robbie is showing us her range and has managed to compile a really impressive filmography following her departure from Australian soap opera Neighbours. Kayla is a character who shows a side of Robbie that we haven’t been able to see before and makes it all the more exciting to see what roles she will take on in the future.

On the other hand, Kidman is definitely underused but packs a punch when she is onscreen. I understand that with three prominent protagonists, it can be tricky to prioritise whose story to go more in depth on but it would be wrong to underestimate Gretchen’s important in this narrative. She is the initial driving force and brings this story out to public knowledge. The opening scene shows other female anchors following the rules followed by a collection of clips of Gretchen being told that her outfits are lovely as well as comments on her body with Gretchen looking uncomfortable but laughing it off. She is immediately presented as an outsider from the get go. When confronted by a woman in the supermarket who tells her that her show and Fox News are a disgrace, Gretchen doesn’t understand and twists it back on the woman. The performance doesn’t require the same level of depth and development that Theron and Robbie have to bring because Gretchen is already at the stage of rebellion but Kidman loses herself in the role. We don’t see Kidman, we see Gretchen. It would also be wrong not to mention the eerie performance from John Lithgow as Ailes. It isn’t easy to play a role like Ailes as someone who seems kind and respected but so manipulative and abusive beneath the surface. Despite having limited screen time, Ailes has a horrifying and lingering presence over the whole film and that is thanks to Lithgow’s intimidating command that he has when he is onscreen. He is very much a puppet master.

Bombshell was a surprisingly intense and thrilling film to watch. The limited use of location, primarily the Fox studios makes for a claustrophobic experience that reflects the entrapped environment that the woman work in. The intriguing part about it is how the women start speaking out without really talking to one another for fear of being outed as a traitor. Thanks to its controversial subject matter and triple female protagonist set-up, it probably will have limited success at awards season but the fact that it has received nominations is a great achievement. Theron, in particular, really brings her A game and delivers her best performance in years.

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

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“Got invited to the Christmas party by mistake”: The Rise of the Unconventional Christmas Film

There are many certainties at Christmas. An extensive wish list that is left unfulfilled, copious amounts of mulled wine is consumed and the never-ending debate of “Is Die Hard a Christmas film?” is discussed in a ridiculous amount of detail. The long-endured debate has been discussed by fans, critics, even cast and crew from the blockbuster as they puzzle whether it is a Christmas film filled with action or if it is an action film that just so happens to be set during the festive season. One thing is for sure, it has become one of the most popular flicks to put on during the darker months as we see its inclusion among films such It’s a Wonderful Life and A Christmas Carol (and A Muppet’s Christmas Carol if you’re me). It begs the question: how does a film qualify as a Christmas film? After all, Die Hard isn’t the first Christmas film where the festivities take a back seat. Tim Burton’s Batman Returns is another one often watched and follows a similar trend in that it is action focused. Even the most loved seasonal family films like Home Alone and Gremlins have splashes of Christmas but again the action and plot outweighs the Christmassy elements. However, this doesn’t reduce the Christmassy feeling that these feelings bring and thus begs the question: if a family action film set at Christmas can qualify as a Christmas film, then why can’t an adult action film also fall under the same snowy umbrella? And what about films set at Christmas but don’t revolve around Christmas? Do they qualify also?

A good example of the latter would be Stanley Kubrick’s swansong Eyes Wide Shut (1999). Starring Tom Cruise and Nicole Kidman as married couple Bill and Alice who are living the high life in New York City with their daughter, Helena. After Alice reveals her sexual fantasies to Bill, Bill sets off to find his former college friend, Nick, who he had seen earlier that evening. One thing leads to another and Bill ends up decked in a hooded cloak and Venetian mask in an affluent mansion witnessing a mass orgy taking place in every room in the house. The film is famed for this sequence which is one of the intense and terrifying scenes you can encounter in this film, purely because you don’t know anyone except Bill. It doesn’t sound very festive and yet it has become somewhat of an underdog Christmas film due to the festive season timeline and numerous decorated sets. It’s the ultimate anti-Christmas Christmas film. This film brings in the argument that you can have a very adult film, surrounded by Christmas but rejecting the values as we see this family spending the festivities apart from each other – poor Helena is stuck with the babysitter constantly. Kubrick subverts those traditional morals of the festive time and questions the concept of the Christmas film. This film is a visual and literal antithesis of It’s a Wonderful Life. Where It’s a Wonderful Life shows love, family and kindness, Eyes Wide Shut gives sex, language and violence in abundance. The only similarity the two share is that the patriarch is thankful to live and grateful for what he has but the journeys to get there couldn’t be more different.

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Where Eyes Wide Shut rejects the morals of Christmas and family values, Todd Haynes’ modern masterpiece Carol does everything it can to uphold them. Set in 1950s New York and following department store sales assistant, Therese Belivet (Rooney Mara). Therese is an aspiring photographer, has a great social life and a boyfriend who wants to marry her and take her to Paris as soon as possible. I have written a fuller review on Carol which you can read here. Everything is wonderful, conventional and seems to have everything you could want in a traditional Christmas film. Where Carol seems to differ is the moment when Therese, geared up with a Santa hat and working her shift glances over and sees a well-dressed woman staring back to her. This woman is Carol Aird (Cate Blanchett) and the moment I just explained can only be described as love at first sight. What subsequently follows is a heart-wrenching story of two women who long to be together in a society that wishes to draw them apart. Carol has become a phenomenon in the LGBT+ film world and with good reason. It is a perfect example of a modern Christmas film. The Christmassy music, the warm colour palette and the natural way Blanchett and Mara portray the blossoming love between the women has all the makings of a classic Christmas film. In fact, I would argue that Carol the perfect example of a modern Christmas film. It keeps those traditions from earlier Christmas films but is subtly progressive at the same time.

Lastly, there are films that give the feeling of Christmas without actually presenting any festive connection. A prime example would be The Wizard of Oz (1939) which has become a regular during Christmastime for many families. The use of dreamy technicolour, traditional family morals and Judy Garland’s voice is the perfect combination for a festive treat that is perfect for those who like Christmas films and those who don’t. It’s the perfect good vs. evil story as Dorothy finds herself from black and white Kansas to the colourful land of Oz. To get back home, she has to defeat the Wicked Witch of the West with the help of the mysterious Wizard. If we are willing to include films like The Wizard of Oz to the roster of Christmas films then does that suggest that it is the tone of the film rather than the setting of the film that qualifies it? The Wizard of Oz certainly argues this. Of course what the film also has in its favour is the decades of Christmas day showing on TV since its release. It has become a staple for many families and their descendants. It would be interesting to see what modern films become the equivalent in the future.

Naturally, it will always come down to individual taste and opinion but it is interesting how the rules differ dependant on the film itself. Whether its the themes, tone or Christmas setting that decides it for you, there is a trend that sees modern films subverting the more traditional festive tropes that you see in classics like Miracle on 34th Street (1947). I think this is in part due to Die Hard sparking this debate as there is an increase in more self-aware Christmas films over the past 30 years. Regardless of whether you think that films like Eyes Wide Shut deserve a place on the list of Christmas films, it looks like unconventionality is here to stay.