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Review

Parallel Mothers (2021)

One of the best films to come out of this year’s awards season is Pedro Almodóvar’s latest feature, Parallel Mothers which sees him reunite with Penélope Cruz for the seventh time. The film follows photographer, Janis (Cruz) and her parallel experiences of motherhood with teenage mother, Ana (Milena Smit). What follows is a series of event that are unpredictable as the main characters lives start out the same, but veer off into different directions. Receiving two Oscar nominations for Cruz’s lead performance and Alberto Iglesias’ magnetic score, Parallel Mothers is a film that sees Almodóvar at his best. The film opened the Venice Film Festival where Cruz was awarded the Volpi Cup for Best Actress.

The film is written and directed by Pedro Almodóvar, who showcases yet again how fearless he is as a filmmaker. What Almodóvar does so well is his ability to merge various genres, while also bringing in various layers that make his films so rewarding to watch. In Parallel Mothers, there is an ongoing plot as Janis campaigns for a local mass grave to be excavated as it contains the remains of her great-grandfather and other men who are unlawfully killed during the Spanish Civil War. This fight for freedom and local identity parallels her own struggles to find herself and her place in the world, while also serving as a plot point that drives the film forward.

Undoubtedly the beating heart in the film, Penélope Cruz provides one of 2021’s best performances as Janis. Janis is a successful photographer who lives in a beautiful apartment in the heart of Madrid. When she unexpectedly falls pregnant, her life begins to change and after encountering a teenage mother, Ana, in the hospital, she begins to see that they share more in common than she originally thought. Cruz is absolutely excellent in the film and deservedly won the Volpi Cup for Best Actress at Venice Film Festival for her troubles, as well as receiving an Oscar nomination for Best Leading Actress. Cruz and Almodóvar have proven yet again how well they work together as Cruz is able to bring forth Janis’ complexities and strength.

The role of Ana is equally important as Janis because she serves as Janis’ parallel and counterpart throughout the film. Playing Ana is Milena Smit, a relative newcomer, who does a fantastic job in the role of complex Ana, a teenage mother who struggles in her new role as caregiver. Smit works brilliantly with Cruz as the two share a natural chemistry that makes the characters’ relationship authentic and believable from beginning to end. Throughout the film, we learn more about Ana and the more tragic it becomes in terms of her background. Smit’s performance therefore becomes more rewarding as we can see that sadness and struggle that Ana has been faced with and begin to understand why she makes the decisions that she does.

When it comes to the cinematography, Almodóvar relies on his regular collaborator José Luis Alcaine. What Alcaine does so well is allowing the audience to see the world from the character’s eyes. Janis’ perspective serves as a microcosm for the experiences of motherhood, while also remaining beautiful to look at. One poignant location used throughout the film is Janis’ kitchen. The kitchen is often referred to as the “heart of the home”, and in this instance, it is the “heart of the film” as Janis has many meaningful encounters there. Alcaine makes use of the space by shooting the kitchen from various angles to make it feel claustrophobic in scenes of tension and confrontation, while using wider shots to make it feel more spacious and free when used in scenes of joy and bonding.

One of the best elements of the film is the score composed by Alberto Iglesias. Iglesias was nominated for an Oscar for his work, and it’s easy to see why. Some tracks such as “El visillo volante” feel reminiscent of classic thrillers as the fast strings feel like a quickened heartbeat. What makes the score so effective is that Iglesias knows when to keep the music quiet and subtle in the background and when to allow the music to be loud and drawn out.

What makes Almodóvar one of the best filmmakers working today is his ability to craft beautiful characters, while also bringing in a wider view of the world. In Parallel Mothers, we follow Janis and her struggle to find her own identity, while simultaneously trying to fight for a local mass grave to be dug up that is believed to contain her great-grandfather and others who were killed during the Spanish Civil War. Almodóvar always makes films that are thoughtful and gripping and Parallel Mothers is no exception. It’s a film that doesn’t need all the bells and whistles as Almodóvar allows his actors to bring forth the tension in the script with Cruz providing her best performance in years, and one that I believe she should have won the Oscar for.

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

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Review

Chip ‘n Dale: Rescue Rangers (2022)

Chip ‘n Dale: Rescue Rangers is a film that seems to play on Disney’s desire to bring beloved characters from their history into the modern day. Filled with plenty of nostalgia and meta-jokes, Chip ‘n Dale: Rescue Rangers follows the titular chipmunks as they are reunited after years away from stardom and fame with Chip working in insurance and Dale working the convention circuit in a desire to reboot his career. Filled to brim with familiar characters from Disney and beyond, Chip ‘n Dale: Rescue Rangers is one of the biggest surprises of the year, bringing plenty of laughs and an all-star cast that makes this a must-watch.

The film is directed by Akiva Schaffer with a script written by Dan Gregor and Doug Mand. Schaffer is known for his directing work with the Lonely Island, meaning that he is able to capture Mulaney and Samberg’s humour perfectly. The screenplay is filled with self-conscious jokes and humour that is expected of the Lonely Island, albeit toned down for the younger audience. That being said, there are moments when the film ventures into more mature and darker themes which can feel a little disjointed at times. For the majority of the film, there is a lightheartedness and self-awareness as the chipmunks are forced to live “normal lives” with Chip working in insurance and Dale attending conventions in the hope that he can reignite his career once more. Seeing the difference in animation style between the chipmunks is a funny inclusion as Dale undergoes “surgery” to make him appear CGI in a bid to be more exciting and modern, while Chip maintains his traditional animation style. There are plenty of jokes through the film and enough nostalgia to please audiences of all ages, making this a fun adventure for the family to enjoy.

Leading the cast are John Mulaney and Andy Samberg voicing Chip and Dale, respectively. The latter has worked with Schaffer as a member of the Lonely Island for many years, so it makes sense that Samberg would be picked as his and Schaffer’s humour is similar. This works well for the film as it feels as though Samberg is given more in terms of material and characterisation than Mulaney, although Mulaney makes the best of what he has. It’s undoubtable that Mulaney and Samberg have a great chemistry which it what drives the film and makes it so enjoyable to watch. The scene in which the two rap as a distraction to break into Sweet Pete’s sauna locker is hysterical and showcases the unique brand of humour that the Lonely Island promotes.

One of the major talking points of the film is the character, Sweet Pete. A variation on Disney’s iconic rendition of Peter Pan, Sweet Pete is a middle-aged version who has put on weight and has drinking problems after he is fired from Disney for getting “too old”. Pete now runs an underground bootlegging operation in which he forces former stars to feature in his bootleg films. While this may seem like a comical turn of events for such an iconic character, the appropriateness of Peter’s fate seems to echo that of the original Peter Pan voice actor, Bobby Driscoll, whose life was plagued by drinking and drug problems after Disney let him go when he grew up. Although this plot line seemed to look at the harshness of Disney’s contracts and the way they treated their talent, the way in which this particular character echoes the original voice actor’s fate seems a bit inappropriate, and it’s hard to believe that they weren’t aware of the history since this behavior is exactly what they are alluding to. Luckily, Sweet Pete isn’t in the film as much as anticipated, but it does bring the film into a darker territory that can feel uncomfortable at times and not reflect the same lightheartedness and quality that is present throughout the rest of the film.

Chip ‘n Dale: Rescue Rangers is a film that combines plenty of live action with various styles of animation. It’s tone and genre seems to be in the style of Who Framed Roger Rabbit? and this is evident thanks to the array of homages that Chip ‘n Dale incorporates such as a cameo by Roger Rabbit as well as a moment when Sweet Pete is looking through his torture tools and has a bottle of Dip, which was a substance used in Who Framed Roger Rabbit? to kill the toons. Nowadays, it’s common to see films that combine live action and animation so while Who Framed Roger Rabbit? was innovative and new for its time, Chip ‘n Dale: Rescue Rangers brings in new styles of animation such as CGI which wasn’t available when Roger Rabbit was released. That being said, the various styles of animation can be overwhelming and chaotic at times, especially when there are numerous characters on screen.

While there are elements of the film that venture in darker territory that can feel uncomfortable such as the allusions to drug and alcohol abuse throughout. However, the other content in the film is enjoyable to watch, making it surprisingly entertaining, while the various animation styles used seems to reflect the success of Who Framed Roger Rabbit? 30 years before. Although Chip ‘n Dale: Rescue Rangers may not have the longevity that Who Framed Roger Rabbit? has, it’s still an enjoyable watch from beginning to end, thanks to the lovable performances provided by Andy Samberg and John Mulaney in the titular roles.

What did you think of Chip ‘n Dale: Rescue Rangers? Let me know in the comments below!

Chip ‘n Dale: Rescue Rangers is available to watch on Disney+ now!

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Review

Everything Everywhere All At Once (2022)

One of the most exciting films to be released this year is the Daniels’ Everything Everywhere All At Once. The film follows Evelyn Wang, a woman who has grown unhappy with her life as she has become distant from her husband, Waymond, while her relationship with daughter, Joy (Stephanie Hsu) is at breaking point. When the family’s laundrette business is audited by the IRS, Evelyn learns that she has the ability to jump between multiple universes which range from the fantastical (the kung-fu universe in which she is a movie star) to the bizarre (the hot dog universe where everyone’s fingers are hot dogs). The film is a wonderful conglomerate of various genres and styles and includes some of the funniest plot lines in recent years, especially ‘Racacoonie’ in which a chef (Harry Shum Jr.) who is controlled by a raccoon on top of his head in the style of Ratatouille.

Written and directed by the ‘Daniels’ (the collective name for filmmakers Dan Kwan and Daniel Scheinert), Everything Everywhere All At Once is one of the most original films to be released in recent years thanks to its mix of fantastical elements that are grounded by timely and relevant issues. Serving as a wonderful tribute to Michelle Yeoh’s extensive career while also allowing her to showcase her range as protagonist, Evelyn, Everything Everywhere All At Once is a film that is all about the human experience. The script is incredibly extensive and filled with many pop culture references that is sure to appease all ages. It’s insane to think that this is only the Daniels’ second feature as the film feels so large in its scope and characterisation. Their script in particular is one of the best of the year and is sure to garner awards attention for Original Screenplay as it will be difficult to find a film with more originality and innovation than this.

It is no understatement that Everything Everywhere All At Once is Michelle Yeoh’s film. As the initial inspiration for Evelyn’s character when the Daniels decided to change the protagonist from male to female, Yeoh provides a masterclass in acting in what is one of the most exciting performances of the year. Evelyn is unhappy with the direction her life has gone in and when the IRS begin to audit the family’s laundrette business, things seem to reach a breaking point. What follows is a wonderful homage to Yeoh’s illustrious career as well as allowing her to showcase her brilliant range in a role that is both sweet and fierce at the same time. It’s no surprise that there is a lot of potential Oscar buzz for Yeoh, who controversially was snubbed for her performance in Crouching Tiger, Hidden Dragon. Yeoh has been providing wonderful performances for decades and finally it feels as though she is getting the praise and recognition from Western audiences that she deserves.

Making a comeback to acting after a long hiatus is Ke Huy Quan who stars as Evelyn’s lovable husband, Waymond. What is great about Quan’s performance is that he is also given the chance to showcase a large range as we see him as the quiet Waymond in the current universe which is then contrasted by Alpha Waymond who is far more confident and assertive. Quan took a hiatus between 2004 and 2019 but the way that he grasps the character and manages to convey so much through Waymond, you wouldn’t think that he had been away from the camera. The scenes in which he encounters Evelyn in the movie star universe are particularly wonderful as the Daniels pay tribute to In The Mood For Love and Quan in this universe plays a dramatic version of Waymond in a scene that shows how the characters could have flourished if they didn’t leave China together.

Aside from the stellar leading performances, there are also plenty of supporting turns that are worth talking about. Stephanie Hsu is wonderful as Evelyn’s daughter Joy and the immortal entity Jobu Tupaki who has placed the meaning of life into an everything bagel that has the potential to destroy the multiverse. The role was originally written for Awkwafina who dropped out due to scheduling conflicts and although it would have been great to see her in such a brilliant role, Hsu is equally fantastic and proves to be the perfect choice. The difference between Joy and Jobu Tupaki are visual and internal polar opposite as the former is having to grapple with the possibility that her grandfather may disown her for being gay while also having to deal with the turbulent relationship with her mum that begins to worsen, while the latter is bright and colorful with elaborate costumes and a confidence as she knows everything there is to know. Hsu plays both of these roles perfectly to the point where you do forget that they are being played by the same actress.

Other small supporting roles include Jamie Lee Curtis as Deidre and James Hong as Evelyn’s father who is referred to as Gong Gong (Cantonese for grandfather or father-in-law). Curtis’ performance as Deidre is originally fierce and tough as she is the IRS worker auditing Evelyn’s business while also playing a more tender companion to Evelyn in the hot-dog finger universe in a performance that is adorable and hilarious at the same time. On the other hand, Hong is wonderful as Gong Gong. Although his role isn’t as big, he still maintains a strong presence throughout the film as his influence is felt over the Wang Family.

A film like Everything Everywhere All At Once relies heavily on its cinematography and Larkin Seiple’s work is excellent. Having previously worked with the Daniels on their debut feature, Swiss Army Man, Seiple was the natural choice for their follow-up. What he does really well is bringing out the fantasy and supernatural elements from the initially boring setting of the IRS office. The majority of the film’s main plot takes place in the office but we feel as though we are being transported to an alternative universe and this is thanks to Seiple. The scenes in which Evelyn channels her Kung-Fu universe self is particularly excellent as it pays tribute to Yeoh’s career whilst also being exciting and new.

The music by Son Lux marks one of the most exciting soundtracks of the year. Like the film, Son Lux’s score is relentless and unpredictable, never sitting still as we are catapulted between multiple universes, while still maintaining a consistent thread. In a sense, the music showcases another side to Evelyn’s character and perfectly captures the complexities of her character thanks to its mixture of styles and tones from the whimsical track “Wang Family Portrait” to the incredibly intense “Switch Shoes to the Wrong Foot”. It’s a soundtrack that conveys the emotions of the film brilliantly without overwhelming the visual content.

Everything Everywhere All At Once brings together components of modern cinema but combines it in a way that feels fresh and exciting. Brilliantly unpredictable and fearless in vision and execution, the Daniels have succeeded in making the most original film of the year that will be very hard to beat. It wouldn’t be surprising to see this up for multiple gongs come awards season, especially for its screenplay and Michelle Yeoh’s killer leading performance. The film is a wonderful tribute to Yeoh’s previous career, while also catapulting her to mainstream Western audiences who may be unfamiliar with her filmography.

What did you think of Everything Everywhere All At Once? Let me know in the comments below!

Everything Everywhere All At Once is out in cinemas now!

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Review

Perfect Blue (1997)

There are plenty of iconic anime films that have been released throughout the years. From the fantasy worlds created by visionary Hayao Miyazaki to Mamoru Hosoda’s brilliant coming-of-age stories, anime has always been an excellent medium within film for storytelling. One such pioneer of the medium was the late, great Satoshi Kon whose directorial debut, Perfect Blue was released 25 years ago this year. The film showed that anime is not just for children and made way for anime content that was catered for adults thanks to its gruesome violence, explicit nudity and mature themes. Perfect Blue follows Mima, a young woman wanting to make the transition from pop idol to mature actress. As she begins to take on more adult roles and gives her public image a makeover, Mima’s life starts to unravel as she deals with a stalker who is hellbent on ensuring that she maintains an innocent image.

The film was directed by Satoshi Kon and written by Sadayuki Murai who based the screenplay on Perfect Blue: Complete Metamorphosis by Yoshikazu Takeuchi. Satoshi Kon directed four films before his death in 2010 with Perfect Blue marking his debut and what a debut it is. The film is a complex look into the psyche of protagonist Mima as she begins to lose grip on reality as an imposter threatens to steal her identity. Kon’s unflinching approach has made Perfect Blue a staple, not only in animation, but in the psychological thriller genre as well. It is a visceral look into societal expectations placed on women and how that pressure to conform can have tragic consequences. Murai’s script is fast-paced while also providing plenty of scope for various factors to mesh and contribute to Mima’s eventual mental health deterioration. Kon’s gritty vision helps to list Murai’s words off the page, resulting in a brilliant film that feels both of its time and deeply relevant simultaneously.

Perfect Blue can be defined as a character study into its protagonist, Mima. Junko Iwao voices Mima and does a brilliant job of conveying the trauma and horror that the character has to endure throughout the film. Mima starts the film with a higher pitched tone to convey her innocent image that coincides with her pop idol career, but as the film goes on, her tone and attitude becomes more authentic and real as her life spirals downwards. Iwao perfectly captures the wide spectrum of emotions that Mima feels throughout. Mima is such an intriguing character and Iwao contributes to this. The idea of the pop idol and image is one that is especially monitored in Japan moreso than the majority of countries and seeing the extent of obsession for the fame and attention that Mima has makes for truly frightening viewing.

As with any film, the supporting characters are equally important. In particular, Rica Matsumoto’s contribution as Mima’s agent, Rumi, is brilliant. Rumi is a former pop idol herself and her obsession with Mima and her career shows how she longs for the life that Mima has, but isn’t willing to move on with her own life. Matsumoto’s performance is tinged with hints of longing and sadness throughout as Rumi clearly disapproves of the direction that Mima’s life is going in.

One of the best elements in the film is the music composed by Masahiro Ikumi which elevates the emotions felt by Mima throughout. As Mima begins to become disconnected and suffer from dissociative identity disorder just as her character does on the TV show she is in, the music begins to reflect this as the tracks become more chaotic. The track “Virtua Mima (Voice)” is especially haunting and its repetition drums in the confusion and terror that Mima is feeling. It’s a soundtrack that is essential to the overall film and helps to make the film as iconic as it is.

What makes Perfect Blue so gripping from start to finish is the editing by Harutoshi Ogata. Ogata does a fantastic job with the editing as he frames the film like a live-action psychological thriller featuring quick cuts to highlight the protagonist’s confusion and disconnection from reality. There are also longer scenes that make for uncomfortable viewing such as the scenes in which Mima is filming a scene for a television show in which she is victim of a sexual assault as well as the iconic chase scene that comes later on. The latter example has become synonymous with anime horror and it’s easy to see why. Ogata’s editing of the chase scene is one of the most eerie and frightening scenes without containing a huge amount of violence when compared with the rest of the film.

Perfect Blue has garnered a reputation over the years due to its explicit content and exploration into mature themes, while still remaining a gripping watch that boasts brilliant storytelling. Kon may have only made four films, but each one shows his immense talent as a filmmaker and Perfect Blue is a fearless glimpse into fame and the dangers of being a familiar face among a public that can easily hide. Despite the dated technology used in the film, Perfect Blue feels even more relevant now as social media has become even more commonplace. Not for the faint of heart, Perfect Blue should be on every film lover’s “to watch” list if they have not already watched it before.

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

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Review

X (2022)

A24 have established themselves as mastered of horror over the years and they show no signs of slowing down with the release of X, a film that incorporates elements and homages to traditional slasher films such as The Texas Chain Saw Massacre. The film is set in 1970s Texas and follows the cast and crew of a pornographic film, led by the ferocious leading lady, Maxine (Mia Goth) and her producer boyfriend, Wayne (Martin Henderson). When the group arrive at their barn filming location, it becomes clear that the old couple who own the main house are not quite what they seem and what follows is a slew of gruesome murders and violence galore.

The film is written and directed by Ti West, who has become prolific within the horror world. West definitely has a brilliant eye for direction as X thrives on the distinct vision that beautiful style that serves as a homage to previous Texan horrors, while also subverting the tropes associated with such films. Protagonist Maxine is the perfect example of this as she is unashamed in her sexuality, while also displaying a fearless attitude, a polar opposite description of many female horror protagonists that have come before her. The biggest trope that West seeks to explore is the morality of sexuality. For decades in horror, sex has equated to death for many characters, namely in horror franchises such as Friday the 13th which is full of young people who are slain, typically after engaging in sexual activity. West uses X as a means to discuss this topic and question whether sexuality is morally wrong and what that means. West is undoubtedly an extremely talented writer and has a brilliant way of blending different types of personalities in a natural and engaging way. However, with X, the downside is in the motivation of the film’s villains as it isn’t delved into that much, and what information we are given doesn’t seem to be believable or understandable considering what actions they commit throughout the film. It is such a shame as providing a better backstory with more meaning behind the old couple would bring X to the level of other modern horror masterpieces such as Jordan Peele’s genre-defining Get Out.

With such a heavy emphasis on its lead character, Maxine, it was imperative that West cast an actor who is more than capable of pulling off a layered performance with ease. Mia Goth is the perfect choice, as she has been an integral part of the horror genre for years with supporting turns in films like Gore Verbinski’s A Cure For Wellness, Luca Guadagnino’s remake of Suspiria, and Clare Denis’ High Life. What makes Goth such a brilliant actress is her ability to adapt to any role. Although she has become a staple in horror specifically, the films themselves could not be any more different in terms of characterisation and style. In X, Goth is able to further showcase her range as aspiring pornstar, Maxine. Maxine believes that she is destined for fame and fortune and is willing yo do whatever it takes to get there. Goth is nothing short of phenomenal, and even with the shortcomings of the script, the audience still wants Maxine to succeed in thwarting the killer’s plans and wants her to stop them. X gives Goth the leading role that she deserves after years of being placed in support and it is a credit to her talent and range that she has been able to breathe life in such a fantastic character that has plenty of agency.

While this is definitely Mia Goth’s film, X also boasts an incredibly impressive cast with Brittany Snow and Scott Mescudi in particular providing excellent turns as pornstars, Bobby-Lynne and Jackson. Both make use of the time they have onscreen and West relies on Snow’s beautiful vocal talents as she provides a great rendition of Fleetwood Mac’s “Landslide” in a scene that brings unity and peace for the group before tragedy unknowingly befalls them. Mescudi is charismatic as Jackson and has one of the most intense scenes in the film as he helps Howard (Stephen Ure) look for the latter’s wife, Pearl.

One of the film’s strongest elements is the cinemtography by Eliot Rockett. Inspired by porn films and slasher films of the 1970s, Rockett brilliantly incorporates vintage style filming when it comes to shooting the pornographic scenes. It brings a layer of authenticity and allows the audience to feel immersed in the world that West has created. The heavy use of blood is also contrasted with the minimal, natural landscape that surrounds the barn and the use of minimal locations allows Rockett to create that feeling of claustrophobia and entrapment for the audience.

X is certainly innovative and distinctive in its style and characterisation, but at times this comes at the cost of the plot and villain motivations which doesn’t come across clear or believable. However, it cannot be denied that Mia Goth is an absolute tour de force and is truly one of the best actors working in the horror genre. Showing her ability to lead a film and keep the viewer gripped, Goth’s performance is filled with grit, fearlessness and a depth that has come to define the roles she plays.

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

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Review

Summer Ghost (2021)

I was fortunate enough to cover this year’s Cardiff Animation Festival and was able to watch an array of films (over 100 in fact!). One of the highlights was loundraw’s debut, Summer Ghost which has a non-traditional running time of 40 minutes meaning that it can be considered either a long short film or a short feature film depending on your point of view. The film follows three struggling teenagers Tomoya (Chiaki Kobayashi), Aoi (Miyuri Shimabukuro), and Ryō (Nobunaga Shimazaki) and their investigation into a local urban legend called the Summer Ghost, a young girl who was rumoured to have killed herself who can be summoned when lighting a firework at an abandoned airfield. When they come face to face with Ayane (Rina Kawaei), the Summer Ghost, the group tries to figure out the truth about Ayane’s death, so she can find peace and move on.

The film marks loundraw’s directorial debut and is based on a script by author Hirotaka Adachi who incorporates many elements seen throughout his bibliography. The first thing that you notice about Summer Ghost is how strong the style of the film is. It’s clear from the beginning that loundraw has a distinct style, while the writing isn’t afraid to venture into mature topics such as mental health, specifically struggles with depression and suicide. Due to the film’s 40-minute running time, there are some characters who are given more characterisation over others as loundraw has more interest in Tomoya and Ayane. This isn’t to say that we aren’t given insight into Aoi and Ryō’s characters at all as we learn about their individual struggles, but there is more emphasis placed on the friendship between the protagonists and their times spent together. The plot of Summer Ghost is fairly straightforward and linear, but isn’t afraid to blur the lines between reality and the supernatural, allowing the audience to escape within the magic of the film’s world.

The film consists of four major characters so finding the right actors to voice them was crucial, especially since Summer Ghost delves into darker themes. In particular, the voice acting provided by Chiaki Kobayashi as protagonist, Tomoya and Rina Kawaei as the titular ghost, Ayane are extremely strong with the latter proving herself to be the perfect choice for Ayane. They manage to bring life to their characters and perfectly put across the complex emotions that these characters feel through the duration of the film. The scenes in which Tomoya and Ayane spend time together without the others feels extremely intimate and secret with Kobayashi and Kawaei conveying great chemistry for the characters, so the audience believes that they have an organic and natural friendship, despite the short amount of time that we see them spending together.

The soundtrack composed by Akira Kosemura, Itoko Toma, Guiano, and Hideya Kojima perfectly conveys the fantastical elements of the plot as it incorporates whimsy, especially in the scenes when we are first introduced to Ayane and when Tomoya first flies. The composers treat Summer Ghost as though it were a feature with his score as he allows the tracks to become loud and powerful, bringing forth the characters’ feelings during the unspoken moments. There is a contrast between the tracks that accompany scenes that take place in the “real world” and those that accompany supernatural scenes as the former seem to feel more standard and repetitive as though to exaggerate the repetitive nature of everyday routines, while the supernatural tracks are more unpredictable and whimsical in their sound. Despite having four different composers working on the film, the soundtrack works well when put together as it shows the complexities and differences between the characters and their individual perspectives.

Summer Ghost may have a non-traditional running time of 40 minutes that teeters between short film and feature film length. However, this doesn’t take away from Adachi’s beautiful script and the vivid visuals as loundraw makes use of every single second. Whether loundraw decides to revisit the world of Summer Ghost for a feature-length project in the future or decides to leave the project as is, it’s clear that he has a firm place in the future of anime and is a voice and visionary to watch out for as his studio, Flat Studio begins to develop even more projects.

You can read my write-up on Cardiff Animation Festival here.

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Review

Red Rocket (2021)

One of the most anticipated films to come out of last year’s Cannes Film Festival was Sean Baker’s latest feature, Red Rocket. The film follows Mikey Davies (Simon Rex), who has returned to his hometown of Texas City after his career in the porn industry has come to a standstill. When he meets 17-year-old Strawberry (Suzanna Son), at a local donut shop where she works, Mikey is determined to groom her into becoming the next big name in porn. Red Rocket received a standing ovation at Cannes and became a critical and commercial success as expected from Baker’s films, while establishing Baker as a true visionary who seeks to place the spotlight on outcasts and their stories, especially those who work in the sex industry. From the opening credits that show off the industrial background while NSYNC’s track “Bye Bye Bye” plays to the closing shot of Strawberry in the bikini in her doorway, Red Rocket is another brilliant entry in Baker’s filmography.

The film is directed by Sean Baker who cowrote the screenplay with writing partner, Chris Bergoch. As expected from Sean Baker’s films, Red Rocket sheds life on another perspective within the sex industry as Mikey is a former porn star who tries to settle down into “normal” life and struggles when potential employers learn of his previous profession. Like his other projects, Baker’s focus is on a select few characters and explores Mikey and Strawberry as the former has been involved in the porn industry for years before while the latter is toying with the idea of entering the industry. The film is far grittier and has even darker undertones than Tangerine and The Florida Project thanks to the controversial age gap that had many critics and moviegoers talking about as Mikey is in his 40s while Strawberry is only 17 and still in high school. However, Baker and Bergoch do not glorify Mikey or his actions, which is clear from the get-go as he turns up at his ex-wife’s house broke and bruised.

Simon Rex leads the cast as former porn star, Mikey Davies who has returned home to Texas following the downfall of his career. Providing one of the most uncomfortable yet brilliant performances of the year, Rex’s turn as Mikey has many layers that can be interpreted in different ways depending on the viewer. On the surface, he seems excited and optimistic about the future, especially after his encounter with high school senior, Strawberry, and the prospect that she could be the next big thing in the porn industry. On the other hand, Mikey’s actions can be construed as manipulative and deceptive as he will do anything to get what he wants in an extremely controlling manner. Once his gaze is fixated on Strawberry, he does everything he can to control each aspect of her life beginning with the breakup of her relationship with her high school boyfriend through to convincing her that the porn industry is the right path for her. Mikey is a deeply disturbing and flawed character, but this is what makes the film captivating to watch and it’s thanks to Rex’s fearless approach to the character. It’s no surprise that Rex won an Independent Spirit Award for his troubles.

It’s always exciting when an actor seems to breakthrough out of nowhere and one of this year’s big breakouts is Suzanna Son who is magnetic as high schooler, Strawberry. Strawberry’s character is the catalyst for the events that happen in the film as her encounter with Mikey inspires the latter to pursue a career as a talent scout in the porn industry. Red Rocket has garnered controversy due to the aforementioned age gap, but on watching the film, Mikey’s position as a controlling manipulator is evident as he puts himself in the centre of Strawberry’s life to groom her into entering the porn industry. This means that she doesn’t really have a say, even if it may seem like she does. Son fills Strawberry with plenty of ambition and dreams that seem to be bigger than the small town she lives in.

The cinematography is provided by Drew Daniels who manages to find the magic in the Texan setting. The opening shot sees Mikey return to Texas City and the industrial influence is clear as the bus makes its way past a slew of power plants. Mikey’s ex-wife’s house is by contrast, a small patch of green that sits near to these power plants, while Strawberry lives in a small town nearby that is far away from the power plants and has a beautiful lake at the bottom of her back garden. Despite the limited locations that have become signature in Sean Baker’s films, Daniels manages to show the contrast between Mikey and Strawberry’s backgrounds simply from the environments where they live.

Red Rocket will definitely prove to be uncomfortable viewing for some thanks to the large age gap between the two main characters, but Baker doesn’t necessarily glorify the age gap as Mikey is clearly a flawed and charismatic individual who has a penchant for controlling and manipulating those around him. While the film may not be on the same level as Baker’s previous effort, The Florida Project, Red Rocket is another worthy addition to his filmography and proof of his ability to tell stories that are often overlooked or ignored.

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

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Review

The Tragedy of Macbeth (2021)

Shakespeare film adaptations are nothing new, as there have been an abundance of adaptations throughout the years. One of the most popular Shakespeare plays that has been adapted to film is Macbeth, which has had many film adaptations starting with the 1908 silent film. The newest addition to the Macbeth adaptation pile is Joel Coen’s The Tragedy of Macbeth. For those unfamiliar with Macbeth, the play (and this film), follows the titular character (Denzel Washington) and his ascent to the throne with the help of his Lady (Frances McDormand) of Scotland. Once he is King, Macbeth descends into madness and becomes a tyrant, causing a huge mutiny and attack from both England and Scotland, resulting in his downfall and eventual death.

The film is directed and written by Joel Coen and is arguably one of the best Macbeth cinematic adaptations that has ever been made thanks to Coen’s minimalist approach. The film is shot in black and white, but not only does this serve as a stylistic decision, it also ensures that the focus is on the text rather than the opulence. Coen’s adaptation is faithful to the play and his direction has clear focus on the characters. His respect for the source material is abundantly clear and the decision to have the actors speak in their original accents was a great choice as it means that more focus can be put on the words.

Denzel Washington leads as the titular character and completely embodies Macbeth through his rise and fall. What makes Washington such an effective Macbeth is that he provides the intensity and command required in such a role. Washington’s performance has been grossly overlooked this awards season with most award bodies only focusing on Will Smith in King Richard and Benedict Cumberbatch in The Power of the Dog. What Washington manages to achieve in this film is a deeply gravitating performance that draws you in from the moment he appears until the character’s eventual demise. The scene in which Macbeth ponders whether to go through with the murder of the King is among the highlights in the film.

You can’t have an effective adaptation of Macbeth without choosing a brilliant actress to portray Lady Macbeth. Who else was Joel Coen going to select except the incomparable Frances McDormand? McDormand is no stranger to Shakespeare, having played Lady Macbeth in 2016. Due to the dynamic shifts between Macbeth and Lady Macbeth, it is essential to have two actors who are able to carry off commanding and controlled performances. McDormand proves to be a perfect pairing for Washington’s Macbeth as she has an all-knowing presence about her. She perfectly encapsulates Lady Macbeth’s story arc from her manipulative methods in order to gain power through her husband through to her descent into madness. The scene in which she is sleepwalking around the castle and discussing the murder is eerie and ventures into horror territory thanks to the unpredictability of McDormand’s performance.

In one of the most captivating performances is Kathryn Hunter, who plays all three Witches and the Old Man. Hunter is a phenomenal actress who embodies the weirdness and otherness in the characters. Macbeth contains some of the most well-known Shakespeare quotes and a lot of them are delivered by Hunter. The scene in which the Witches visit Macbeth for the second time perfectly encapsulates the subtly and brilliance of Hunter’s performance, not relying on the bells and whistles that come with a lot of cinematic Shakespeare adaptations. Hunter’s acting ability comes through without any extra help, and it’s such a shame that her performance was overlooked during the mainstream awards.

The cinematography by Bruno Delbonnel is stunning and makes use of the various locations in the film. Despite the minimalism in the production design, Delbonnel manages to capture the world perfectly. Despite the use of numerous locations, there are many scenes in which there is a pinpoint focus on the characters themselves rather than their surroundings in order to draw in that focus. However, this doesn’t mean that Delbonnel isn’t able to incorporate innovative shots that make the film beautiful to watch. The scene in which Lady Macbeth is reciting a letter that Macbeth has sent her before setting fire to it is brilliantly shot, ending with the letter in flames as it floats away in the sky. The scenes in which the Witches visit Macbeth are both among the best scenes in the film thanks to their eeriness and simplicity, especially the second visit.

One of the best aspects of the film is the production design by Stefan Dechant, who has been nominated for an Oscar for his beautiful work on the film. The production design is innovative and works beautifully in the film, making use of the space and light in the film. Macbeth’s castle is large and empty, showing off the affluence and regality of the character’s station, while emphasising the emptiness and lack of fulfilment in the character’s life. Dechant’s production design is striking and clearly inspired by the stage, without feeling too “stage-like”. The scene in which Macbeth is visited by the Witches the second time has phenomenal production design as the Witches sit on beams above Macbeth as the character sits beside a pool of water and awaits to hear his fate. What makes the production design so effective is how simple it looks, but actually conveys the vastness of the land that Macbeth wishes to rule over.

The Tragedy of Macbeth may mark Joel Coen’s first solo project, but hopefully it won’t be his last. Coen’s minimalist approach allows the performances to shine, while also boasting innovative production design, wonderful cinematography, and a striking score. What makes the film so effective is how stripped back it is in its approach, meaning that the focus is on the text. It may not have the same level of flourish as other Oscar contenders, but it’s definitely worth the watch and marks one of Washington’s career-best performances.

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

The Tragedy of Macbeth is available to watch on Apple TV!

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Review

CODA (2021)

There are some films that have humble begins and then grow in publicity and popularity unexpectedly. This year’s dark horse is undoubtedly, comedy-drama CODA, which has had a huge awards’ presence, and even been grabbing some unexpected wins. The film follows Ruby Rossi (Emilia Jones), who is a CODA (Child of Deaf Adults), and her experiences as the only hearing person in her family. As Ruby discovers that she loves music and singing, complexities arise, especially as her family set up their own fishing business. CODA’s achievements shouldn’t be ignored as 40% of the film is American Sign Language, which is a brilliant way of raising awareness and promoting inclusion within the film industry. The cast of Ruby’s family consists of Daniel Durant (who plays Ruby’s brother, Leo), Troy Kotsur (who plays Ruby’s father, Frank), and Oscar winner Marlee Matline (who plays Ruby’s mother, Jackie).

The film is written and directed by Siân Heder and is her second feature following her 2016 debut, Tallulah. CODA is a remake of the 2014 French film, La Famille Bélier, which did exceptionally well in the French box office on release and was nominated for numerous César Awards. Heder’s script relocates the story to a fishing community in Massachusetts, but maintains the main story element that the protagonist discovers that she loves singing and wants to audition for a place at a prestigious music school. What Heder’s script does really well is bring a great level of characterisation to each member of the Rossi family as the film chronicles the familial relationships and conflicts that Ruby has with each member. The direction shows life through Ruby’s eyes and rarely diverts from this with only a handful of scenes not involving Ruby included in the film.

Emilia Jones takes on the lead role of Ruby and proves to be the perfect casting choice. Jones has been slowly adding to her resume in recent years, providing brilliant performances such as the lead character in Catherine Linstrum’s 2019 film, Nuclear. It is this film, however, that has proven to be her big breakout performance and even garnered Jones a BAFTA nomination for Best Leading Actress. Ruby is a great central character thanks to her relatability as an awkward teenager trying to fit in, but her situation as a CODA makes her the prime target for bullies in school. When she realises that she can sing and wants to embark on a music career, familial conflict ensues as she won’t be able to act as her family’s interpreter. Jones perfectly captures Ruby’s dilemmas and internal conflict as she strives to follow her own dreams.

One of the big reasons why CODA was able to secure financing was thanks to Marlee Matlin, who stars as Ruby’s mother, Jackie. Matlin made history as the youngest winner of the Best Leading Actress Oscar in the 1986 film Children of a Lesser God and her career has proven to be vast, spanning across film and TV. Jackie and Ruby’s relationship is highly turbulent throughout the film, as they don’t seem to have a lot in common. When Ruby realises that she loves to sing, Jackie can’t understand as she had planned Ruby’s role in the family business. Although the role is fairly small, Matlin makes the most of every second she is onscreen, and it’s clear that she is having a lot of fun in the role. What is great is how developed Jackie’s characterisation is as the mother-daughter relationship goes through highs and lows.

The highlight of the film is undoubtedly Troy Kotsur in the role of Ruby’s father, Frank. Every time Kotsur is onscreen, he commands attention thanks to the amount of heart and depth that he brings to the character. Frank’s financial and social turmoil are brilliantly chronicled in the film. What makes Frank such a brilliant character is the mix between humour and drama that he goes through, and his scenes are among the most memorable in the entire film. The scene in which Frank lectures Ruby and Miles (Ferdia Walsh-Peelo) on safe sex is among the funniest moment in the film. The scene following Ruby’s school performance, in which Frank asks her to sing the song from her recital while feeling her vocal cords. Through doing this, he is able to experience the emotions of the song, and it’s one of the best scenes in this Oscar race and is why he is deserving of the Best Supporting Actor Oscar.

One important aspect of CODA is its soundtrack. The score is composed by Marius de Vries who incorporates calming, whimsical instrumental tracks that invoke the small fishing community which is then contrasted by an array of song covers that are beautifully sung by Emilia Jones and fellow members of the choir. The film’s climactic moment, in which Jones sings a cover of Joni Mitchell’s “Both Sides, Now” as part of her audition for college will bring tears to your eyes as she notices her family in the audience and begins to sign the lyrics for them. The music is imperative to the plot of the film and in the end, is made inclusive for all characters and the way that this is done helps to bring the family together.

CODA has proven itself to be The Power of the Dog’s main competition and may even cause a huge shock by taking home the Best Picture Oscar next Sunday. Heder’s film is one that is filled with a lot of heart and amazing performances, especially by Kotsur, who is the favourite to bring home the Best Supporting Actor Oscar, and Matlin. Although some may find that the feel-good nature of this film is overwhelming, CODA has the performances and writing to back up a great story with a wonderful message. Although Ruby’s situation is not experienced by the majority of families, the familial conflicts and way that the relationships are portrayed feel universal and relatable.

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

CODA is available to watch on Apple TV+ now!

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Review

Ali & Ava (2021)

British cinema is at its best when it is able to truly capture the plight of the working class. Clio Barnard’s newest film, Ali & Ava, premiered at Cannes Film Festival in 2021 and has been well received by critics and audiences alike thanks to its universal story. The film is set in Bradford and follows the titular protagonists (Adeel Akhtar and Claire Rushbrook, respectively) as they meet, and their relationship develops. Both characters have received judgement and prejudice for different reasons as Ali faces racism while Ava lives in a poorer area of town. Together, the pair find that they share a lot in common such as a passion for music and this blossoms into a relationship that develops concern from the family and friends of both parties. On top of this, the film also explores emotional challenges as Ava has to overcome the trauma of her last relationship as her deceased husband was abusive. With Akhtar and Rushbrook bringing profound performances that perfectly capture the working class experience, Ali & Ava is an uplifting tale of love.

The film is written and directed by Clio Barnard, who has managed to bring forth the complexities that come with everyday life, by interweaving brilliant characters. The plot may seem pretty simple on the surface as the two protagonists meet and fall in love, facing plenty of prejudice from their friends and family, and learning how to thrive in the face of these protests. Barnard has done a flawless job of getting to the heart of her characters and really delving deep into their development and characterisation, so we are able to truly understand Ali and Ava’s decisions. The way that Barnard captures Bradford makes it feel as though it is based in its own universe and shows that there is more to people than originally perceived.

Adeel Akhtar is fantastic as local landlord, Ali as he provides a grounded performance that has so many layers. To say that he deserves his BAFTA nomination is an understatement, as it feels as though his performance – and the film overall – has been overlooked by awarding bodies outside the UK. Ali is a person who loves music and is always doing his best to please the people in his life. When he meets Ava, it is evident that this is the first time in a while when he is able to put himself first. Akhtar brings forth Ali’s passion for life as well as the complexities that come with it. It’s an intelligent performance that becomes more resonant as the film goes on. Akhtar’s chemistry with Rushbrook is undeniable and the two of them complement each other perfectly. The scene in which they are both listening to their music is extremely beautiful, as they are sharing the same experience through a different song, which is reflective of how their lives have crossed from travelling down different paths. Akhtar’s performance is nothing short of charismatic and magnetic, while also ensuring that there is sincerity in the character, even in the lighter moments.

Playing Ava is Claire Rushbrook who does a brilliant job of delving into the character’s complicated story. Ava’s path is very different from Ali’s as her struggles have come from inside the home. She is a working class mother who endured abuse from her husband for many years before his death. Not only does Ava have to put up with the racist opinions from those in her family, but she clearly struggles to let her guard down and open her heart to another man following her trauma. It’s a shame that Rushbrook isn’t receiving award recognition for her performance. While Akhtar’s fantastic performance is more extroverted, Rushbrook’s is more subtle in that her revelations and development occur later on in the film, while also showcasing the pressures that are put on her as a mother, a friend, and a teaching assistant.

The cinematography is provided by Ole Bratt Birkeland who does a brilliant job of showcasing the magic within Bradford and the many places it is home to. The characters live in the same city but come from different walks of life and this is captured in Birkeland’s cinematography as we venture into the lovely built-up areas near the centre where Ali lives that is known to have a large South Asian community, while contrasting this with the rural working class community on the city’s outskirts where Ava lives. Bradford works as a visual microcosm that has an abundance of different communities within it and Birkeland does a brilliant job of ensuring that the film doesn’t feel claustrophobic in terms of location. The way that Birkeland heavily focuses on characters during scenes of tension is fantastic as we are able to see every movement that the actors make. The scene in which Ava’s son, Callum (Shaun Thomas), confronts his mother and Ali at a local bonfire ventures into thriller territory thanks to the unpredictability and the sharp focus that Birkeland has on the characters.

Ali & Ava is a film that feels so timely and timeless at the same time. It is a film that doesn’t need bells and whistles in its production and is proof that having a wonderful visionary at the helm with stellar performances can draw out the magic and complexity from a plot that may seem simple at first. Akhtar and Rushbrook are a fantastic team and the way that they develop the characters and showcase the lows and highs of the relationship is nuanced and resonant. Barnard’s modern day Romeo and Juliet may not have the grandeur that is expected of such a love story, but Ali & Ava is a beautiful take on the human experience.

What did you think of Ali & Ava? Let me know in the comments below!

Ali & Ava is available to view in cinemas now!