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Sound of Metal (2019)

Sound of Metal has been on the minds of many film fans for years now. With images first released a couple of years, it was definitely worth the wait. Darius Marder’s directorial debut is a fantastic study into deafness. Following heavy metal drummer, Ruben Stone (Riz Ahmed), whose life is turned upside down as he loses his hearing and his struggle to adapt to his new life. From a script written by Marder and his brother, Abraham Marder, Sound of Metal will have you feeling the distress and frustration that Ruben experiences as we begin to see and hear the world through his eyes and ears.

The first thing to notice is the brilliance of the script. Starting off at a concert, Ruben plays the drum in a band while his girlfriend, Lou (Olivia Cooke) sings. It’s an overwhelming experience filled with loud music which is then contrasted with the gradual loss of hearing through the subsequent scenes. As Ruben has to accept that his music career is over, he must also adjust to the new situation. As a recovering alcoholic, his sponsor is concerned that he will relapse and sends him to a shelter ran by Joe (Paul Raci) where he can meet fellow people within the deaf community as well as finding a job that can suit him. The screenplay is fantastically paced and doesn’t leave a moment of relaxation as we explore Ruben’s relationships with his new community as well as trying to salvage his relationship with partner, Lou.

Riz Ahmed pulls off a career best performance as Ruben and has received an array of award wins and nominations, including a very well deserved nomination for the Best Leading Actor Award at this year’s Oscars. The film acts as a brilliant character study into Ruben’s life as we begin to learn more about him and his life story as the film develops. At the shelter, Ruben takes on a job as a children’s drum instructor and becomes an inspiration to those around him as well as inspired by the community who has welcomed him with open arms. Despite this, he still feels as though something is missing. With Lou having gone back to France, Ruben cannot feel cometary satisfied or whole without his hearing and he becomes determined to get implants put in that can bring back his hearing. This conflict between retrieving his hearing and learning to accept his deafness is one that resonates throughout the whole film and the results are heartbreaking.

In support, Paul Raci is fantastic as Joe, the owner of the shelter that Ruben is taken to. Having also lost his hearing later in life, Joe is able to lip read and interpret and is the key that Ruben needs to accept his situation. Raci has long worked as an interpreter and his deep knowledge on the subject makes him the perfect choice for this role. His final scene in the film when Ruben tells him about his implants is absolutely heartbreaking as it seems that his work was for nothing. His presence in the film is scattered throughout and he seems to be the missing puzzle piece as Ruben needs to find a consistency that his old life couldn’t afford him. Joe gives him the opportunity to settle down and make a decent living inspiring children to become musicians. Raci’s Supporting Actor nominations this awards season are completely deserved and it’s fantastic to see him receive such recognition for a brilliant performance that will stay with you long after the film finishes.

The sound editing and mixing in this film is second to none. Brilliantly conveying the struggles of Ruben’s deafness through the use of muffled sounds, moments of complete silence which is later juxtaposed by a whirlwind of chaotic noises after Ruben receives his implant. The sound team have done a brilliant job of keeping the audience on edge and capturing their attention by making the film just as important to listen to as it is to watch.

Sound of Metal is an exhilarating watch that will have you feeling the frustration and limitation as the protagonist as he struggles to deal with his new life. With extremely strong and impactful performances from the cast and a stellar script to boot, this a film that commands your attention from the first frame and will hold it until the credits start to roll.

What did you think about Sound of Metal? Let me know in the comments below!

Sound of Metal is available to watch on Amazon Prime!

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Nomadland (2020)

Nomadland has become the ultimate frontrunner this awards season and it’s easy to see why. Writer and director Chloe Zhao’s adaptation of the 2007 nonfiction book, Nomadland: Surviving America in the Twenty-First Century by Jessica Bruder has swept all the major awards this awards season and is more than likely to repeat its success again at the Oscars this Sunday. The film follows Fern (Frances McDormand), a woman who decides to lead a nomad life following the closure of her town and the death of her husband.

Chloe Zhao’s work on this film is absolutely stunning and impeccable. Working as the film’s co-producer director, writer and editor is a clear indicator of her passion for the project and it shows. From the flawless script to the smooth editing, watching Nomadland feels like an immersive experience as though you are going on these journeys with Fern. Zhao has received nominations for Best Picture, Best Director, Best Adapted Screenplay and Best Editing with the majority of these categories locked which will make her the second female winner of the Best Director award at the Oscars.

Just when you think Frances McDormand has shown all of her range, she swoops in with another tour de force performance. Coming off the back of her Oscar winning turn in Martin McDonagh’s 2017 film Three Billboards Outside Ebbing, Missouri, McDormand shines again as Fern, a nomad who is trying to find purpose in her life following the death of her husband. Adamant that she is “houseless” rather than homeless, Fern travels the States meeting a lot of new and familiar faces along the way. What McDormand always does so well is bringing an authenticity and depth to her characters in a way where she makes it look effortless yet impactful. Whether Fern is warming herself up in her van, bidding a friend farewell or reciting a Shakespeare sonnet, McDormand takes us through a whole range of emotions whilst giving an incredibly controlled and grounded performance.

It is impossible to discuss Nomadland without talking about the incredible cinematography by Joshua James Richards. Taking advantage of the nature surrounding Fern’s journeys, Richards’ work is so emotive and strikes a chord with the simple panning of a sunset behind the mountains. It may seem simple on the surface but the way it is done and the mastery and control in how the emotions in the film are conveyed make this a beautifully impressionist piece.

Another highlight for me that hasn’t been as widely discussed is the score. Composed by Ludovico Einaudi, the score feels beautifully classical while also helping to bring forward the emotions we see onscreen. Just as the cinematography allows the landscape to become personified, so does the music. The scene in which Fern goes to a large gathering during the Spring months and meets fellow nomads there is a beautiful long shot that is lifted by a gorgeously soft piece of music that perfectly captures the wonder of the lifestyle. The music never tries to dominate the events happening onscreen but simply helps to heighten and intensify those emotions.

What makes Nomadland work so well is its simplicity. Zhao shows that you don’t have to bring in all the bells and whistles to make the best picture. Nomadland has all the makings of a great modern classic in its relevance and beauty. The film’s ability to bring up a whirlwind of emotions through scenic camerawork is a mark of Zhao’s talent as a visionary. This is very much a labour of love and one that begs for revisiting time and time again thanks to its rewarding visuals and emotive performances where the landscape plays a key part. Whether you view this film as a take on capitalism, environmentalism or a character study, there is much to be gained from the Nomadland viewing experience.

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

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Judas and the Black Messiah (2021)

Judas and the Black Messiah has proven to be a strong competitor this awards season. Following the true story about an FBI informant, William O’Neal (Lakeith Stanfield) who infiltrates the Black Panthers and gets close to Chairman Fred Hampton (Daniel Kaluuya), the film tells a point of view that is often missing from the narrative. Directed by Shaka King and based on a script written by King and Will Berson, Judas and the Black Messiah doesn’t try to spoonfeed the audience and immediately throws us into the situation. As we see William delve deeper into the Black Panthers, we begin to see the conflict in his position as a black man who is working for the predominantly white government that the Panthers are protesting against.

The directorial decisions when it comes to the structure and editing of the film has proven to be a hit or miss when it comes to the critics and audience. I appreciated King’s decision to throw us into the situation and remain neutral on William’s political stance. As reflected in the interview footage we see at the end of the film, William leaves it for the individual to decide whether he was in the right or wrong in his actions as he has been forced into his situation.

Lakeith Stanfield is perfectly cast as William O’Neal and does a great job at conveying the inner conflict that O’Neal faces as he is torn between his job as an FBI informant and as a rising presence in the Black Panthers. Stanfield excels during the scenes in which O’Neal’s life is at stake when there is violent conflict between the police and the Panthers as we see how he doesn’t know what is the right or wrong point of view. As his friendship with Fred grows, his inner conflict grows more and there is more at stake. The chemistry Stanfield has with Jesse Plemons who plays the FBI agent is fantastic and the scenes of negotiation between the two are greatly intense as O’Neal is forced to carry out his time with the Panthers whilst reiterating confidential information to the FBI. One of the biggest surprises at this year’s Oscars is Stanfield’s nomination in the Best Supporting Actor category alongside Kaluuya. It’s great to see Stanfield getting the recognition he deserves but he is definitely the film’s lead and should have been considered as such.

With most of the acting awards being up for debate this year, one consistency has been Daniel Kaluuya’s clean sweep of the Best Supporting Actor gongs from the major awarding bodies. Having received his film breakout in the excellent Get Out which saw him receive his first Academy Award nomination. His performance as Fred Hampton only shows signs of growth and is absolutely breathtaking. If it wasn’t clear before that Kaluuya is one of the best actors working today then it definitely is now. The scenes in which Fred is addressing his congregation commands the room and is so gripping to watch as we cannot predict what decision he’ll make next. There is always that looming danger around Fred as informants are compromised and police action becomes more violent. Some people have a problem with Kaluuya playing Hampton because he is British but his accent is pitch perfect and his mannerisms reflect Fred brilliantly so much so that he becomes the character.

One thing about the film that really stood out to me was the score which was composed by Mark Isham and Craig Harris. The sharp jazz tones make the film feel like a thriller in places and takes away from the reality of the situation. Heavily inspired by the upbeat music of the 1970s also, the score is captivating and helps to elevate the viewing experience.

Overall, Judas and the Black Messiah is filled with fantastic performances from all of its cast. The decision to keep O’Neal’s stance neutral throughout may not work for everyone but I appreciate King for trying something different by allowing O’Neal to act as an observer to Hampton and the FBI and seeing how the two sides make their plans. Kaluuya in particular is worth the watch alone as he does Fred Hampton justice thanks to his passionate and fearless performance.

What did you think of Judas and the Black Messiah? Let me know in the comments below!

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Palm Springs (2020)

Palm Springs has finally landed on Amazon Prime in the UK and it was definitely worth the wait. A modern take on time loops, this film follows carefree Nyles (Andy Samberg) and troubled Sarah (Cristin Milloti) as they find themselves living the same day again and again and again. As Nyles has become used to the time loop life and enjoys it, Sarah is adamant to get out as soon as she can. Naturally, the two begin to bond due to their circumstance and a relationship blossoms. It’s a film that has garnered a lot of praise since its premiere and deservedly so. Directed by Max Barbakow from a script written by Barbakow and Andy Siara, Palm Springs is guaranteed to have you in stitches and in tears as we see how living the same day over and over can actually offer a different perspective on life.

The direction and nonlinear structure makes it different from your average Groundhog Day situation. The topic is actually quite dark as the protagonists cannot escape but Barbakow contrasts this with the idyllic setting of the Palm Springs desert. The nonlinear structure works perfectly with the plot and Barbakow isn’t afraid to let the audience piece everything together rather than spoonfeeding the plot bit by bit. Rather than leading the audience into the time loop, we’re already thrown in there immediately which makes it feel like a puzzle that we have to put together ourselves. It is this unpredictable nature that makes Palm Springs an entertaining watch as we really don’t know what the characters are going to do next even though we know what their day would be like.

Andy Samberg can always be relied upon to turn wonderful comedic performances and his turn as Nyles is no exception. Although Palm Springs is primarily a comedy, there are some brilliant dramatic moments in there as well, especially when Nyles has to decide whether he wants to stay in the time loop or attempt to get back to reality. Samberg’s carefree character quickly becomes affected by his growing relationship with Sarah as she finds herself stuck in the same loop. It is during these moments of inner turmoil that we really see how Nyles’ carefree persona is really just bravado as he has become complacent in this life. Samberg is well known for his comedic roles, mainly as Detective Jake Peralta on Brooklyn Nine-Nine, however, this film marks a small step in drama at times and it would be interesting to see him take on more dramatic roles in the future.

Cristin Milloti has been building an interesting career to date spanning TV (How I Met Your Mother), theatre (Once) and film (The Wolf of Wall Street) but with Palm Springs she gets the leading role she needs to properly breakout. Milloti is absolutely wonderful as Sarah and showcases the character’s conflicted feelings perfectly throughout the film. The chemistry she has with Samberg is great and they work really well on building the jokes and making the film an enjoyable experience. We never feel that Sarah has to rely on Nyles to be saved, she looks to herself for the solution and proves to be more practical and reliable than Nyles is. This is because we are actually seeing the film through her eyes as we are introduced to the time loop through Sarah’s eyes.

JK Simmons is phenomenal as Roy, a man who Nyles accidentally introduced to the time loop life when the two were inebriated with alcohol and drugs. Set on hellbent revenge, he appears every so often to torture and kill Nyles knowing that the two of them will spawn again the next day. It’s great seeing Simmons take on interesting roles that allow him to become immersed in a character. After winning his Oscar, it would have been easy for him to take on leading man roles in blockbusters but Simmons has carried on doing the roles he is clearly passionate about and it really adds in excitement to the overall film as we anticipate his return in the film.

The soundtrack is one of the best parts of this film. With an eclectic mix of genres from a variety of decades including a brilliant use of Kate Bush’s “Cloudbusting” which is used in the film’s climactic scene, the random quality of the soundtrack helps brings the absurdity of the film’s plot. A lot of period films incorporate music from their respective time period to help the audience get a feel for the sounds of the time, however, Palm Springs completely rejects this and refuses to allow its music choices to conform to this. We are not supposed to get a feel for its time and it is wonderfully unpredictable with tunes from Leonard Cohen and David Bowie.

Palm Springs proves to be an incredibly original take on a subject that has been done lots of times before. Despite the time loop making the repeated day a predicted experience, it is actually the film’s unpredictability that makes it exciting to watch. From the beautiful cinematography to the brilliant script, Palm Springs may only be an hour and a half but it makes the most out of every second and never puts a foot wrong.

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

Palm Springs is available to watch on Amazon Prime UK now!

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Song of the Sea (2014)

Cartoon Saloon’s second feature and the middle installment of Tomm Moore’s “Irish Folklore Trilogy” is a beautiful story that explores a plethora of Irish mythology including selkies, faeries and Celtic goddess, Macha. Song of the Sea follows human child, Ben who lives in a lighthouse on an isolated island with his father, Conor and younger sister, Saoirse. Still feeling the pain from his mother’s death six years prior when she died giving birth to Saoirse, Ben blames his younger sister for the tragedy and treats her badly because of it.

Marking Moore’s second directorial feature and based of a script written by Will Collins, Song of the Sea delves even further into Irish mythology than The Secret of Kells as Saoirse deals with her new identity as a selkie. As well as this, the film also explores the story of goddess Macha who has been turning faeries to stone. With Saoirse being the last of her kind, it is up to her and Ben to find her magic coat so she can sing releasing the faeries to they can travel to Tír na nÓg. There is a lot going on but not so much that elements are lost. The script does a fantastic job of tying the different plot points together.

As protagonist, Ben, David Rawle does a fantastic job of bringing the character’s conflicting feelings of pain and adventure. Ben fills his life with the stories he mother told him but he is terrified of the water and still feels the pain from his mother’s death. Only a young boy, he has a very black and white view on the world and this leads him to become stubborn in his ways. As the film unfolds, Ben begins to grow and develop a positive relationship with Saoirse. Despite being mute, Saoirse’s big vocal moment comes in the film’s beautifully climatic scene when she sings her song. Lucy O’Connell does a wonderful job thanks to her lovely singing which feels magical. Singing in both Irish and English and helping the spirits go to Tír na nÓg. Saoirse is such a lovable character throughout and when she finds her voice it is both emotional and exciting as this is where the magic comes to life.

In supporting roles, we see some of the cast take on two roles. Brendan Gleeson returns to Cartoon Saloon’s productions as father, Conor and mythological Mac Lir. As expected, he does a flawless job as the grieving father who struggles to bring up his children alone. His performance as Mac Lir is only small as we see flashbacks of him crying an ocean of tears as folklore dictates before being turned to stone. Using Gleeson for both voices is a clever choice as it allows the story to draw parallels between the magical world and reality as both characters experience grief through losing the one they loved. Fionnula Flanagan also performs dual roles as Granny and Macha. Again, there are similarities between these characters ad they are matriarchs trying to make life better for their children and grandchildren but don’t think through the consequences fully which creates the conflict in both the magical world and reality.

As expected with Cartoon Saloon films, the music plays an integral part. None more so than in this film where the plot is all about Saoirse reciting the song that will save the magical creatures. With a title like Song of the Sea, it was expected that the film was going to be full of wonderful music. Regular Cartoon Saloon collaborators Bruno Coulais and Kíla bring a world of excitement through their music, particularly with flute sounds and other woodwind instruments to reflect the sounds that would be heard through the shell. “The Song” track is among the best in any Cartoon Saloon film as it combines that magic and whimsy as Saoirse sings the song of the sea.

Overall, Song of the Sea is a film that will leave you wanting to know even more about Irish folklore and mythology. From the stunning animation to breathtaking music and the emotional storyline, this is a film that is sadly overlooked but is a major player in modern 2D animation. If The Secret of Kells helped to put Cartoon Saloon on the map then Song of the Sea ensured that it will be staying there for a long time.

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

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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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BFI Flare Festival 2021: Tove

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

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

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

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

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

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

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

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BFI Flare Festival 2021: Jump, Darling

BFI Flare Festival is all about showcasing the newest films that explore LGBT+ issues and the variety this year follows all paths of life from all corners of the globe. Opening the festival this year is Phil Connell’s Jump, Darling. The film follows Russell (Thomas Duplessie), a drag queen who moves back in with his grandmother, Margaret (Oscar winner Cloris Leachman) after his breakup. As Russell tries to decide what he wants to do with his life, he also finds himself taking care of Margaret who is reluctant to go into a care home despite her ailing health. The film was one of the last films Leachman starred in before she passed away earlier this year.

Connell’s screenplay and direction is nicely paced and he manages to get fully realised characters in its short 90 minute run. Despite the difference in lifestyles between Russell and Margaret, their similarities begin to show as both are trapped in their particular situations. Where Maragret is physically trapped as she is unable to leave the house, Russell is finding himself unable to fulfil his potential as a successful actor and feels the pressure of failure from family and friends. The scenes where Connell’s direction really shines is when Russell performs lip syncs as his drag alter ego, Fishy Falters. These scenes allow Connell to shift to a more experimental style of filmmaking as he mixes in differing camera angles and lighting that takes Russell out of his reality when he becomes Fishy Falters.

Duplessie is fantastic in the leading role as Russell and stands his own against Oscar winner Leachman. We first see Russell in a successful nightclub prepping for his drag debut as Fishy Falters. After stumbling on his way to the stage and leaving the club, he breaks up with his partner who thinks he is should pursue acting as he doesn’t think drag is a worthy career. When he moves in with his grandmother, we begin to see the clash between the two worlds that he seems to inhabit. Where Duplessie really shines is showing the difference between Russell’s life as a man who is trying to find his way versus his performances as the super confident drag queen, Fishy Falters. Duplessie’s stellar lip syncing is on par with the performances we see from professional drag Queens throughout the film.

As expected, Leachman is brilliantly cast as Margaret, the family matriarch who simply refuses to be put in a care home despite pressure from her daughter. Unable to drive or properly care for herself, Russell’s arrival brings a certain amount of freedom as Maragret begins to encounter old friends and start to find the joy in her life again. With Leachman having a stellar career playing strong women, Jump, Darling is no exception as we see Margaret grasping at the little control she has left. Wanting to cater to her grandson and encourage him to push out of his comfort zones, Margaret is quite a confrontational character but she also has a softer side when it comes to Russell. The scenes between Leachman and Duplessie are great to watch and even in her twilight years, Leachman shows that her star quality never went away.

One thing that I thought was particularly great in this film was the editing. Lev Lewis edits perfectly by utilising a more traditional cut in the scenes with the domestic troubles but then changing to a more exciting cut during the musical scenes. This helps to shift the genre of the film from drama to musical and keeps the film unpredictable and attentive. Lewis’ editing works perfectly to show the two worlds that Russell lives in and perfectly chronicles the emotional journey he takes.

Overall, Jump, Darling marks a great start to this year’s BFI Flare Festival and marks the start to a wonderful career for Duplessie whilst also being a lovely swansong for Hollywood icon, Leachman. Connell uses the minimalist surroundings and limited characters allows the two protagonists to shine and puts their acting at the centre. The chemistry between Duplessie and Leachman feels natural and the screenplay allows the relationship to develop naturally without resorting to any exposition. Jump, Darling is a film that will leave you laughing, crying and every other emotion in between.

Jump, Darling is opening the BFI Flare Festival.

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I Care a Lot (2020)

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

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

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

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

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

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

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

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

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The United States vs. Billie Holiday (2021)

The United States vs. Billie Holiday has produced one of the biggest surprises to come out of this year’s Golden Globes. Andra Day proved victorious in the Lead Actress in a Drama category as she beat out favourites Frances McDormand and Carey Mulligan to receive the prize for her turn as legendary jazz singer, Billie Holiday. Chronicling Billie’s life leading up to, during and after her controversial prison time, The United States vs. Billie Holiday does have its flaws but it features brilliant performances from Day and the rest of the cast. Directed by Lee Daniels from a script written by Pulitzer-prize winning playwright Suzan-Lori Parks, The United States vs. Billie Holiday has found a star in Andra Day.

The film does take a while to find its natural pace but once it does, it is enjoyable to watch. The first half of the film feels rushed, flitting quickly from one event to the other unexpectedly without really letting the characters breathe. I think that because Parks has a lot more experience in writing plays, this technique would work much better on stage than on screen but the second half brings some brilliant characterisation. Daniels’ direction also shines in the second half as we see Holiday’s rebellion and unapologetic attitude take hold and her descent into drug and alcohol abuse.

It goes without saying that Andra Day is heart and soul of the film. Without her fantastic performance this film would not have the power and attention it currently does have. What makes Day’s performance so captivating is that she doesn’t try to be Holiday through mimicking but really delves deep into Holiday’s layered personality. On the surface, she is a hugely successful singer who is loved all over the country but inside she is riddled with addiction combined with bouts of domestic violence and run-ins with the law. With biopics being a mainstay on the awards circuit in recent years, it is refreshing to see a performance that isn’t just an imitation and not much more. Although the film around her has its flaws, Day elevates the whole viewing experience and makes it both rewarding and positive overall.

In support, Trevante Rhodes is great as federal agent Jimmy Fletcher. Having previously had his own breakout role in the Oscar winning masterpiece Moonlight as adult Chiron, Rhodes sees a change of pace here as a conflicted federal agent who plays a huge part in Holiday’s imprisonment. Thinking that being an agent was going to make the world better for African-Americans, he soon realises the corruption that lies in the higher ranks ran by the white elite who are against the civil rights movement. Although Rhodes isn’t in the film a lot, he gives the audience that outsider perspective as he follows Holiday and her entourage on tour.

The film really hits its stride in the second half as Holiday embarks on her tour followed by Fletcher. One scene that is a highlight in particular is when Fletcher is high on heroin and Holiday tells him about her troubled upbringing. The way it is staged as Fletcher sits and views a young Holiday being kicked out by her mother. The structure of the scene prevents the film from simply being a linear scene by scene recreation of Billie’s life. In terms of the direction, the film feels like it is split into two films with the first half being less adventurous and following a move traditional and expected structure and the second half diving into a more experimental and unpredictable approach. This could coincide with Holiday’s descent into addiction and her life spiralling out of control but I think the film as a whole would have benefitted hugely if the approach was more consistent throughout. If Daniels had directed the first half of the film like the second, the discussion around the quality of the film overall would be hugely different.

Although The United States vs. Billie Holiday may not be the strongest film in contention this awards season, it is definitely worth the watch purely for its great final act and Andra Day’s breakthrough performance. I expect to see Day recognised further with an Academy Award nomination at least and it’s exciting what the future holds for her if she decides to pursue a career in film.

What did you think of The United States vs. Billie Holiday? Let us know in the comments below!

The United States vs. Billie Holiday is available on Sky Cinema now!