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Review

Prima Facie (Live Screening, 2022)

Trigger warning: This review delves into various aspects of Prima Facie, including its depiction of sexual assault and rape.

One the plays that has had theatregoers talking this year is Prima Facie. Suzie Miller’s legal play follows the story of a criminal defence barrister, Tessa (Jodie Comer), whose world is turned upside down after she is raped as she experiences the injustice of the system in the way it treats victims of sexual assault. It is a one-woman play with BAFTA and Emmy-winning actress Jodie Comer making her West End debut in the role and she delivers a powerful performance. It’s no wonder that the play has been so successful that it is being transferred to Broadway with Comer reprising the role of Tessa. This live screening of Prima Facie was arranged by the National Theatre.

The play is written by Suzie Miller and her legal background is evident given how detailed and precise the writing is. The play premiered in Sydney in 2019, but what is nice about this production is that Miller has incorporated Comer’s Scouse background and added touches of Liverpool throughout the dialogue. Prima Facie is a play that explores the serious issue of sexual assault and how it is currently dealt with in court as victims as made to appear at fault and picked apart by defence teams. It is also a play about class as Tessa’s working class background and outlook contrasts greatly with the people she socialises with. Where Tessa has had to work extremely hard for her career, it seems almost expected of her privately educated peers that they would fall into a similar line of work.

The play starred Jodie Comer as Tessa and she completely embodies everything about the character from the moment she steps on stage. Comer has blown the world away thanks to her impeccable acting on film (The Last Duel and Free Guy) and television (Doctor Foster and Killing Eve) and now she dominates the stage. Tessa is an ambitious woman who works her way up to a successful career and along with it, finds herself socialising with the middle and upper classes. This is a far cry away from the character’s Scouse working class upbringing. What is nice about Comer’s portrayal is that it gives the actress the chance to embrace her natural accent throughout. Although the play is a one-woman show, the scene in which Tessa is raped feels extremely explicit and graphic because Comer’s performance is so intense.

The music by Self Esteem, credited as Rebecca Lucy Taylor is exceptional and feeds into the claustrophobic nature of the courtroom and the tragic assault that Tessa experiences. Before the live screening began, we were shown an exclusive performance of Self Esteem’s song “I’m Fine”. The message of the song runs through the play and is a fitting anthem for the play. Taylor’s unique sound and style is evident throughout the score for Prima Facie. The opening track “The Winner” backs

Prima Facie is a play that is difficult to watch due to the subject matter, but it is an extremely important play for the same reason. Miller’s play provides insight into the injustice in how the system deals with sexual assault cases and how wrongly the victims are treated. We see Tessa at both sides of system, starting in her role as a criminal defence barrister and using the techniques that the law permits, but in the second half of the play, she is victim to those same tactics and realises how the justice system does not deal with these cases in a fair manner.

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

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Review

Elvis (2022)

Elvis is one of the big films to be released this year as it sees Australian filmmaker Baz Luhrmann make a return to the big screen since his 2013 adaptation of F. Scott Fitzgerald’s The Great Gatsby. Starring Austin Butler as the titular musician, Elvis Presley, the film chronicles his turbulent relationship with his manager, Colonel Tom Parker (Tom Hanks) and his attempts to balance an incredibly successful singing career and a family life with wife, Priscilla (Olivia DeJonge) and daughter, Lisa-Marie. It’s a dazzling film that is relentless in storytelling yet simultaneously tells a tragic story about a talented individual who is consistently taken advantage of, culminating in a sad end that sees him addicted to drugs and unable to break free from his manager’s clutches.

The film is directed by Baz Luhrmann who cowrote the script with Sam Bromell, Craig Pearce and Jeremy Doner. As expected from a Luhrmann film, Elvis is a striking film that believes in a “more is more” philosophy, cramming in plenty of visual symbolism and cultural references to emphasise the setting of the film. Luhrmann knows how to craft a film that coincides with music and while the script may be hefty coming in at 160 minutes with odd pacing at time, it allows us to see a side to Elvis that the audience never got to see. There are certain elements that are looked over as it’s clear that Luhrmann wants to ensure that Elvis is portrayed in as positive a light as possible, while also ensuring that Parker is the clear villain of the film which is does.

Austin Butler beat out a ton of big names to portray the musician. His Elvis doesn’t feel like a cheap imitation in the way that many musician biopics do. Butler’s performance feels thoroughly researched and dedicated as there is a longing that Elvis has to better his career and a frustration as his attempts to try new things are stopped by Parker. The scenes in which Elvis confronts Parker about the latter’s behaviour is truly terrifying as all the tension and anger had bubbled to the surface. His singing performance is also excellent as it doesn’t feel as though he is trying to do a perfect match, but he does sound a lot like Elvis, making it difficult to separate which sounds and images are Butler and which are Elvis throughout.

Tom Hanks portrays Colonel Tom Parker in a role that sees him play against type. Hanks has been open in the past about not playing a villain, but it all changes when portraying Parker. An intriguing decision Luhrmann made was to shoot the film from Parker’s perspective, ultimately making him no different to an unreliable narrator. Parker is surprised by the accusations that have been thrown his way through the years and denies that he treated Elvis badly. Hanks’ performance is filled with deceit and deception as he manipulates Elvis into doing his business. While it may not seem obvious at first, his manipulation becomes more obvious and desperate as the film goes on. It will be surprising if Hanks is not brought into the Best Supporting Actor conversation come award season as it shows him tackling new range.

As with any Baz Luhrmann film, the cinemtography is a sight to behold. Collaborating with Luhrmann for a second time is Mandy Walker, who worked on his 2008 film, Australia. Walker conveys the delusion of show business and its ruthless nature. One moment we are at Elvis’ youth which is simplistic and more traditional in its style before diving into the bright, dizzying lights of Vegas and the swirling roulette tables that are always spinning as we see Elvis worked to the bone at the hands of his greedy manager.

One element that contributes to the striking aesthetic is the costume design by Catherine Martin. This is a film where the costumes become a character themselves as Elvis dons almost one hundred different costumes throughout the movie. What is impressive about Martin’s dedication to her craft is that she commissioned costumes that were made in exactly the same way that Elvis’ jumpsuits were made for the stage. This gives the costumes that authentic feeling without feeling silly or like a caricature. Even the elaborate stage costumes have a natural appearance about them as we have seen Elvis’ personal style develop over the course of the film’s 160 minute run.

The film is filled to the brim with Elvis classics, but what Luhrmann does that is always brilliant to see is tweak the music and incorporate a more modern film. In the same vein as Mounlin Rouge!, the soundtrack is filled with covers from current artists, showcasing the timelessness of Elvis’ music. What the sound department do brilliantly is combine the original Elvis vocals with the covers so it becomes one song, while the score and sound mixing is done brilliantly throughout the film so the audience are truly immersed in music, as though we were in Elvis’ mind.

Overall, Elvis may contain all the trademarks associated with Luhrmann’s filmography and it works beautifully with the film’s subject by showcasing the glitz and glamour of show business. With excellent leading performances from Butler and Hanks, it’s easy to imagine this film up for some nominations come awards season, even if there is a while to go.

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

Elvis is available to view in cinemas now!

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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

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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Tick, Tick… Boom! (2021)

Tick, Tick… Boom! is one of many film adaptations inspired by musicals and this one sheds light on the creative process and its struggles of the musical’s writer and subject, Jonathan Larson (Andrew Garfield). Larson was known for writing the musical Rent which is one of the most popular and loved by people across the world. What people may not know is how Larson struggled to make it big in the musical theatre world which is what Tick, Tick… Boom! explores. The musical follows Larson who is trying to get his new musical approved and funded by respected members in the Broadway community including figures like Stephen Sondheim (Bradley Whitford). The musical in itself is brilliant and acts as a fantastic tribute to the world of musical theatre and the people who helped build it to what it is now.

When deciding to adapt the musical, it seems only natural that Netflix would choose someone who is just as prolific in the musical theatre world and who else to choose than the incredibly talented Lin-Manuel Miranda. The mind behind In the Heights and Hamilton and songwriter for Moana and Encanto, Tick, Tick… Boom! marks Miranda’s directorial debut and he delivers, marking his talent behind the camera with a stunning debut. Miranda’s passion for the musical and its subject is evident and it comes across in how he captures Larson’s perspective of the world and the magic and imagination of musical theatre with contrasts of the reality that Larson is living as he struggles to afford his rent and bills and is losing friends to HIV and AIDS amidst the epidemic. Miranda transports us to early 1990s New York and combines the original musical format that sees Larson and his costars perform onstage and recite the stories in a traditional setting with stagings of the events to keep it equally gripping.

There is no doubt that this film belongs to Andrew Garfield who is captivating and perfect for the role of Larson. Arguably Garfield’s career best performance and one that is sure to bring him a lot of attention this award’s season, his portrayal of Larson feels well-rounded and fully realised. He doesn’t always make the smart choices but his intentions are pure as his passion for music and musical theatre thwarts his love for everything else and we get to see the rewards and consequences of this. We feel the elation as Larson gets closer to achieving his goals such as his promising interactions with Stephen Sondheim while also witnessing the losses and downfalls as he comes to terms with the deaths of his friends with scenes such as his emotional encounter with best friend Michael (Robin de Jesús) who has recently discovered that he is HIV-positive. Garfield is magnetic from the first shot to the last and makes use of every scene in between. Not only does he pull off the performance fantastically but his singing voice is brilliant as well which makes it a great watch.

Alexandra Shipp plays Jonathan’s girlfriend, Susan, who is a dancer looking for a stable job following an injury that has put a spanner in her career. It is clear that Susan loves Jonathan and appreciates his talent but when Jonathan begins to neglect Susan and disregard her needs and the decision regarding her offer to teach full-time which would result moving out of state. Where Garfield’s performance sees Jonathan’s head in the clouds, Shipp’s performance weighs him back down to reality which makes their pairing a perfect match. The scene in which Jonathan imagines Susan singing “Come to Your Senses” and Shipp’s performance perfectly conveys the pain that her character feels as she had no choice but to follow her path despite her love for Jonathan.

There are plenty of great supporting performances that allow Garfield to shine even more. These include Vanessa Hudgens as Jonathan’s costar and actress, Karessa, who has the role as the female protagonist in Larson’s musical, Superbia, that he is trying to get funded. Hudgens doesn’t have a lot of screentime but she makes the most of the time she does have. Her performance of “Come to Your Senses” which plays alongside Shipp’s is beautiful and although it plays up the performative aspect of the number more than Shipp’s which leans more into the emotion, it shows the ability that the song has to exist both as a tribute to Susan as a character and as a musical number.

Since the film is a musical, it is important to talk about the music. As expected with a Larson production, the musical numbers are fantastic and filled with plenty of nuance and emotion. Tick, Tick… Boom! not only includes songs about Jonathan’s perspective and struggles to write a song but there are also a couple of songs included from the musical that he is trying to complete within the film. The songs are mainly sung by Jonathan but there are plenty of numbers that incorporate other cast members. One such highlight is “Sunday” which sees Jonathan escape his job for a moment as he imagines a life where he can mingle among Broadway stars. Jonathan sings in the diner as the patrons are all Broadway stars, many who Miranda has previously worked with before such as Phillipa Soo and Renée Elise Goldsberry, and other Broadway heavyweights including Phylicia Rashad, and Bernadette Peters. Not only is this number filled with stars but the performance itself is packed full of passion as it laments on the dreaming a life that is worlds apart from the one that Jonathan leads.

In a year that has seen a lot of musical film adaptations released, Tick, Tick… Boom! does a great job of standing out from the crowd. This film marks Garfield stepping out of his usual dramatic comfort zone and shows that he can lead a musical while Miranda shows his talents as director as his vision has been perfectly realised. Miranda merges reality with fantasy as Larson’s world begins to turn and transform to the world inside his mind. With scenes like “Sunday”, this is a film that demands multiple viewings and shows Larson’s talent as a pioneering figure in musical figure and the interesting portrayal of himself including his flaws.

What did you think of Tick, Tick… Boom!? Let me know in the comments below!

Tick, Tick… Boom! is available to stream on Netflix now!

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No Time To Die (2021)

No Time To Die has finally been released and is no doubt one of the most anticipated films of the year. Marking Daniel Craig’s final outing as MI6 agent James Bond, there has been a lot of excitement for this film to come out and following numerous delays, it was definitely worth the wait. Not only does this film serve as Craig’s swansong to the franchise, but we also get to see a completely different side to the character that we haven’t been shown in the film’s history. Following on from the events of 2015’s Spectre, No Time To Die sees Bond enjoying a life of retirement with Madeleine Swann (Léa Seydoux) before tragedy strikes and he is brought back into the fold as Swann’s life is at stake. The film stars a slew of familiar faces including Jeffrey Wright as Felix Leiter and Ralph Fiennes as M as well as emerging stars such as Lashana Lynch as new 007 agent, Nomi and Ana de Armas as CIA agent, Paloma. The result of which is a film that merges the past and the future of franchise in a way that makes it exciting for what direction subsequent films will take under a new Bond.

The film is directed by Cary Joji Fukunaga who does a fantastic job showing Bond’s inner turmoil as he has to deal with the conflict between wanting to retire and live his life and his moral compass which leads him to follow through with the mission. The script is written by Neal Purvis and Robert Wade who have scripted each Bond film since 1999 as well as rewrites penned by Fukunaga and Phoebe Waller-Bridge. It’s easy to see where Waller-Bridge has added her flawless touch of wit and characterisation as we see the primary and supporting characters in a different light that makes them more relatable and relevant. In particular, we see an emotional side to Bond as he begins to be seen in a familial light and not just a heart-throb who sleeps with every woman he meets. Where Bond has previously completed his missions because it is his job and the right thing to do, he actually has a personal reason to complete this one now.

Daniel Craig’s performance as Bond could arguably be his best because we see this emotional side to the character which gives Craig more to play with than he previously has done before in the franchise. What makes Craig such a memorable Bond is his impeccable delivery and believability in the character which undoubtedly has helped reinvigorate the franchise and push it into the 21st century with ease. As this is his last Bond outing, there is more emphasis on Bond as a character and specifically his interpretation of Bond which means we get to see a grittier and more violent turn of events that rounds up his tenure perfectly.

Léa Seydoux returns as Madeleine Swann and acts as the emotional anchor for Bond. Swann’s character isn’t simply to stand and look pretty, as has been the case of many Bond girls of the past, as she is given complete agency in this film. Realistically, she doesn’t have the same training or fighting skills as Bond which is understandable but we are able to see her fight back in different ways. Seydoux has become renowned for her ability to provide subtly emotional performances and No Time To Die gives her more room to play with than Spectre which is great to see.

It wouldn’t be a Bond film if there wasn’t a Bond villain and in this case, we have Rami Malek as Lyutsifer Safin, a terrorist hellbent on developing and mass-producing a bioweapon that spreads by touch. On appearance, Safin may look like the classic Bond villain but there is an intelligence that this character has that makes him unlike any villain that Bond has come across before, especially Craig’s Bond. What makes Safin such a terrifying character is that he is completely fearless which means that he is unpredictable in his actions whilst also being ruthless and seemingly heartless as well. Where Bond has managed to tap into his emotional side, Safin is incapable of doing so because he is so focused on his tragic past.

One of the main things that characterise a Bond film is its theme tune. With past performers including the likes of Shirley Bassey, Duran Duran and Adele, it was important to recruit a great performer who could capture the magic of the film and there are few artists who are more recognisable today than Billie Eilish. Eilish’s titular song mixes her signature soft vocals with a dramatic backing track that is expected of Bond films. It may seem like an odd pairing at first but the song works perfectly within the tone of the film as there is a melancholic feeling with added cinematic tones underneath. The score is composed by Hans Zimmer who was hired last minute after Dan Romer dropped out due to creative differences and he manages to merge classic Zimmer sounds with a sleek Bond feel. Pieces such as the film’s climactic scene are signature Zimmer with slow strings to draw out the emotion of the scene and allow the viewer to take in the emotions of the character perfectly while the fast action scenes feel inherently Bond and work well within the franchise. Zimmer can always be expected to do a fantastic job no matter what film he is tasked to score but it would have been wonderful to hear what Romer had in mind for the film as he has proven to be a fantastic composer who is destined for greatness.

Overall, No Time To Die is not only worth the wait, but it marks a new direction for Bond as we see 007 in a completely new light that feels exciting and refreshing. Showing that there is space for Bond in today’s world, the film thrusts Bond into modern times by incorporating representation, emotion and a complex character who is more than his well-fitted tux and charm. This is sure to be looked back fondly as a strong point in the franchise and gives Craig the ending that he deserves after a fantastic turn as one of film’s most beloved characters.

What did you think of No Time to Die? Let me know in the comments below!

No Time To Die is available to watch in cinemas now!

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Annette (2021)

One of the big films to come out of this year’s Cannes Film Festival was Annette, the English language debut from French director Leos Carax. Following the relationship between controversial stand-up comedian, Henry McHenry (Adam Driver) and famous soprano, Ann Defrasnoux (Marion Cotillard), Annette is an epic in terms of the various themes it explores as well as the cinematic scope. Running at a staggering 140 minutes, Annette features music written by Ron and Russell Mael of Sparks who cowrote the script alongside Carax and the result is a mind-blowingly wonderful experience that is unlike any film you have ever seen.

Annette sees Carax return to film after 2012’s Holy Motors and is his first English language film. What is fantastic about Carax’s approach to the film is how ironic and aware it is from the opening number all the way to the end. We are informed that we are watching a performance through the medium of performance and it is this layering of dark comedy and contrast that saw Carax win the Best Director award at this year’s Cannes Film Festival. On the surface, Annette may seem like a lot in terms of its various genres and themes but Carax handles it with ease and allows the film to develop organically. The script by Carax and Sparks takes us through a variety of different themes with some taking more prominence than others. Arguably, the most important theme observed in the film is celebrity, how distorting fame can be and how a public persona can overwhelm a person’s psyche to the point where reality and fantasy collide. Just in the way Annette plays with different themes, it is Carax’s way of merging musical, drama, romance and dark comedy that makes it exciting and unpredictable to watch.

Adam Driver delivers a career-best performance as Henry McHenry. From the first set that we see, McHenry never allows the audience in to what he is thinking and what his motives are. Driver’s performance is extremely visceral and layered as he fully encompasses McHenry on a physical and emotional level. Immediately grabbing the audience’s attention, McHenry lives for controversy and aspires to have his name in lights while simultaneously denouncing fame in his act. As Ann’s star rises and his wains, we begin to see McHenry’s public persona and his real personality begin to clash as he struggles to regain control of his public life which then filters into his personal life.

Playing Ann Defrasnoux is Oscar winner Marion Cotillard who is breathtaking as the soprano on the rise. Compared to McHenry’s unpredictable and controversial comedian who improvises his set, Defrasnoux is poised and controlled which is shown through her repeated performances that are lauded among critics and the public. Ann is more reserved than Henry and this seems to go in her favour as Henry begins to implode in his career while her career goes from strength to strength. Cotillard brings her best performance in years and again showing what makes her one of the great living actresses. Her turn as Ann is one filled with sorrow and hope simultaneously as she strives to do what is best for Annette and her relationship with Henry but as it begins to fall apart, she realises that there isn’t much that she can do.

Simon Helberg provides a fantastic supporting turn as The Accompanist, Ann’s pianist and aspiring conductor. Helberg is in it briefly throughout the first half but really comes into the film’s main plot in the second half where he is able to bring a beautifully nuanced performance that is full of bittersweet melancholy. His love and affection for Annette is clear as he reluctantly agrees to take care of her while Henry spends all of the money on his party lifestyle. Helberg may not be in a lot of the film’s 140 minute running time but he makes the most of it.

As Annette is a musical then it is important to discuss the music and songs. Written by Ron and Russell Mael of Sparks, the music is a key component in the film in many different ways rather than simply telling the story through song. We learn more about the characters through their style of music and how they sing with the main contrast being Henry’s aggressive rock-fuelled anthems that incorporate his audience and Ann’s operatic performances in which she is observed by the audience as she sings by herself. In a way, the music serves to tell us more about the protagonists and acts as a way to foreshadow in both a literal and figurative sense.

Overall, Annette is a unique film that truly subverts every misconception that comes with the musical genre. As musicals are seeing a resurgence in recent years and many stage shows are being brought to the silver screen, Annette is a shining example of the musical’s place in modern cinema thanks to its originality and complexity. Musicals are often viewed as an accessible art form but it’s the film’s reluctance to let the audience in that makes it such a uniquely challenging and rewarding film to watch. Thoroughly deserving of the praise it is receiving, Annette may not be an easy film to digest but it gives the audience plenty to think about and discuss once the credits have finished rolling and that is the sign of truly great cinema.

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

Annette is available to watch in cinemas now!

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One Night in Miami (2020)

One of my biggest regrets of London Film Festival was that I accidentally missed the showing of Regina King’s directorial debut, One Night in Miami. Quickly becoming one of the most exciting films tonlook out for this awards season, the film follows the integral meeting that took place between boxer Cassius Clay (Eli Goree), activist Malcolm X (Kingsley Ben-Adir), football player Jim Brown (Aldis Hodge) and musician Sam Cooke (Leslie Odom Jr.) on the night that Clay became World Champion and leads up to the announcement that he is converting to Islam. Based on the play of the same name written by Kemp Powers, who also wrote the screenplay, One Night in Miami is fully engaging and beautifully shot. In an awards season that is dominated by films directed by women, King stands out as she brings a unique perspective to a film that is heavily dominated by men.

As the film is based on a play, it could have easily slipped into the trap of coming across too “stagey” and over the top. However, Powers did a brilliant job of adapting his script in a way where the location changes and long conversations feel completely natural and brings an authentic pace to the film that doesn’t feel jarring at all. Mixed with King’s ability to weave in the different backstories flawlessly, One Night in Miami tells its story effectively without patronising or spoon feeding the audience. We soon find as the film goes on just how complex each individual’s life is and how their own struggles reflect that of other African-Americans during that time as well as their power and influence to inspire change.

In the lead as activist Malcolm X, Kingsley Ben-Adir is absolutely astonishing. By far one of the most exciting breakouts of this awards season, Ben-Adir perfectly captures Malcolm’s strength and resilience that is often associated with Malcolm whilst also adding in the fearful side as we see Malcolm as a family man who is scared for his own wellbeing and mortality as he grows more paranoid of the FBI and the Nation of Islam. Naturally, Malcolm is the instigator of many conversations and arguments that occur in the film simply because he wants his friends to use their platforms to speak up about racial equality. Of course, this isn’t the first time Malcolm X has been brought to the big screen with the most notable performance coming from Denzel Washington in Spike Lee’s 1992 film, Malcolm X but Ben-Adir holds his own and shows that he is definitely a star on the rise.

In support we have Eli Goree, Aldis Hodge and Leslie Odom Jr. as Cassius Clay, Jim Brown and Sam Cooke. Each man a pioneer in their respective field through the worlds of sport and art, Malcolm invites his friends round to discuss the opportunities they have to promote racial equality thanks to the public platform they have. Every actor in this film pulls more than their weight and deliver performances that stay with you long after the film is over but the highlight in support has to be from Leslie Odom Jr. who shines as the conflicted musician Sam Cooke. Cooke is a successful musician who makes his own money and chooses to make music that caters to both black and white people because it makes him rich and allows him to be his own boss. After hearing Bob Dylan’s “Blowin’ in the Wind”, he is inspired to write his own song about racial injustice and the result is “A Change is Gonna Come”. To say that Odom Jr. is the perfect choice for the role is an understatement. He captures Cooke’s personality brilliantly and his voice is spot on, bringing out the passion and love Cooke has for music. It should also be noted by Odom Jr’s performance of the original song “Speak Now” which plays during the ending credits is just as beautiful as the film and I hope it receives an Academy Award come Oscars Night.

Overall, One Night in Miami is a standout among othet directorial debuts by actors because of its simplicity. King has created a film that physically is fairly still but there are a lot of moving pictures as loyalty is questioned and tensions rise. It’ll be excited where her directorial career will take her to next but right now, this film is definitely an important conversation piece that easily holds its own against the heavy hitters that boast extortionate budgets. King will no doubt be amongst the Best Director nominees when it comes to the Academy Awards and deservedly so.

What did you think of One Night in Miami? Let me know in the comments below!

One Night in Miami is available to stream on Amazon Prime now!

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The Muppet Christmas Carol (1992)

Carrying on with the Christmas film viewings and I have watched another that makes my annual list. The Muppet Christmas Carol tends to be a film that splits the audience. Some people absolutely love it and others class it as one of the worst films they have ever seen. Considering I own a giant cinema poster for the film that was from its release, it’s safe to say that I am definitely in the former and nothing gets me in the Christmas spirit more than singing along to the songs from the film. But more on that later! The Muppet Christmas Carol is an adaptation of Charles Dickens’ A Christmas Carol which follows the miserable bookkeeper, Ebenezer Scrooge, a man hellbent on misery especially during the Christmas season. On Christmas Eve night, he is visited by the ghost of his former business partner, Bob Marley who is bound in chains as punishment for how he treated people and subsequent Ghosts of his Past, Present and Future, who show him the kind of person he was, is and will be. By doing this, they allow Scrooge to evaluate his behaviour and turn it around before he is doomed to the same fate as Marley.

The Muppet Christmas Carol features all of your favourite Muppet characters with Kermit the Frog as Bob Cratchit, Gonzo as Dickens and Miss Piggy as Mrs Cratchit. Topping off the bill is Michael Caine as Scrooge and it works so well. Caine’s approach to filming was to treat his Muppet costars as if they were dramatic human actors and the result is a performance that feels completely sincere and moral, getting in touch with the message of the original story. Not only is this a fantastic adaptation of the Dickens material but it is done in a way that is fun and accessible for audiences of all ages.

Caine’s performance as Scrooge is actually among my favourites of his career. This may seem a bit odd considering the wide variety of “serious” films Caine has starred in over the decades but as stated before, his approach and the result is worthy to be up there. We really feel Scrooge’s emotional journey as he starts off as someone incapable of empathy and ends as someone who embraces their community. The turning point for his performance comes during his time with the Ghost of Christmas Present. This also happens to be my favourite segment in the film as it features the best song, “It Feels Like Christmas”, and is where the film begins to shift in tone from dark and gritty to uplifting and festive. Scrooge begins to truly see the ripple effect of his actions as we looks on at his nephew’s household as well as the Cratchit family where he becomes drawn by the youngest member, the sickly Tiny Tim.

Another highlight in this film is definitely the music and songs. I have already touched on this with “It Feels Like Christmas” but the opening number “Scrooge” really sets up the film fantastically as well. We follow behind Scrooge as he makes his way to work as everyday people sing about his miserable and selfish nature. Even before we see his face, we get a clear and well-rounded image of his character while watching lots of cute Muppets in adorable costumes harmonising in their signature way. The score composed by Miles Goodman is clearly inspired by Christmas Carol tunes, Victorian sounds and the uplifting Muppet music. The result is something that sounds timeless and fits well within the Muppet discography while maintaining a distinct and unique score. The same can be said about the songs written by Paul Williams. Using the text by Dickens for much of the lyrical inspiration, he really captures Dickens’ London while maintaining that Muppet feel.

There is no doubt that Jim Henson was a genius and this film marks the end of an era. Made in his memory, it is the perfect swansong to an illustrious career that was defined by bringing happiness and imagination to audiences of all ages. The Muppet Christmas Carol remains one of the best Muppet outputs of all time as well as a memorable and beautiful project of passion.

What do you think of The Muppet Christmas Carol? Let me know in the comments below!

The Muppet Christmas Carol is streaming on Disney+ so be sure to catch it as soon as you can.

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“Amok, amok, amok, amok, amok”: Halloween Family Fun

“I’m a master of fright, and a demon of light, and I’ll scare you right out of your pants!” 

– Jack Skellington, The Nightmare Before Christmas

Halloween is a favourite time of year for many. The spooky decorations, costumes and sweets galore, Halloween is the perfect time of year to whip out the horror films and have a marathon. Also, given that we’re in a lockdown situation, it seems like a movie night will be the best way to celebrate the scariest night of the year. However, not everyone can stomach the gore of the Saw films or Midsommar but don’t fret, there are so many films available for younger audiences and the faint of heart. But why do people of all ages love to watch scary films? Filled with creepy costumes, unimaginable monsters and black magic, horror has always been relied on to entertain and stretch the imagination to its limits.

The first name that comes to mind when thinking of family horror is Tim Burton. Combining Halloween with a Christmassy texture in his earlier films such as The Nightmare Before Christmas (1993) which features characters he created. His imagination sparked a new wave of gothic childlike films that have gained millions of fans around the world. From the magical music numbers to the vulnerability of his characters, Tim Burton’s vision is undeniably horror but also mixed a variety of genres such as comedy and musical to make it suitable and accessible for all ages. Even in his later films such as 2005’s Corpse Bride, he adapts this approach and it still remains as popular as ever.

Seeing how successful it was on release, Disney have taken ownership of The Nightmare Before Christmas since and before this appeared to channel their Halloween offerings into their live-action films. It’s rare to find someone who isn’t aware of the 1993 hit Hocus Pocus which follows the evil Sanderson sisters, a trio of witches set on killing the children of Salem to regain their youth once more. Led by Bette Midler in one of her best performances, Hocus Pocus follows the same approach at exploring the scary topics through comedy and music. It’s no surprise that, despite being critically panned, dedicated fans watch the film every Halloween. Between the likeable characters and the fantasy aspects introduced through the eyes of a Californian native who has recently moved to Salem with his family. What transpires is the terrifying resurrection of three witches who are hellbent on killing the town’s children before sunrise on Halloween night or they will vanish again. It’s a fun film with quite a bit of adult humour to appeal to older viewers and lots of creative costumes to captivate children. It’s such a great watch. Besides, who doesn’t love to sing along to Midler’s fantastic rendition of “I Put A Spell On You”?

Despite never having made a feature film for them, Burton did work at Disney in the 80s but was fired as his work was deemed too dark for children. However, it cannot be argued that his influence has had an affect on Disney’s approach to scarier films in the years since. This reasoning is odd considering that 1985 saw Disney release their scariest movie to date with The Black Cauldron bringing the Studio’s first PG rating. However, it may be due to the film’s failure at the box office that supported their decision to fire Burton. Aside from The Black Cauldron, the only horror animated films Disney had released by 1990 was The Tales of Ichabod and Mr. Toad (1945) which, despite its dark ending, was much lighter in tone than The Black Cauldron. Needless to say, Disney is not the only studio producing horror content for a younger audiences.

Another popular way that filmmakers integrate horror into their films is through satire. Even if younger audiences don’t understand all of the punchlines or references, there are still plenty of laughs to be had. Take Aardman’s Wallace & Gromit: The Curse of the Were-Rabbit and Laika’s Paranorman, two stopmotion animations that take the horror genre and change the rules. The former taking the classic monster werewolf and turning it to a vegetable-crazed were-rabbit and the latter making its protagonist the “monster” as he is a young boy who can see dead people. What makes these films so successful in their audience outreach is that the visuals and stories are enough to captivate and scare younger audiences and older audiences will understand the deeper context.

Halloween has always been a popular time for film fans with new horrors being released every year. Not only is it fun to watch new films but revisiting old favourites for nostalgia always makes for a great time and although it is entertaining to watch some the more gory offerings, it’s nice to watch a lighter family Halloween film as well. Just because a film doesn’t contain massive amounts of blood and guts doesn’t mean that a film can’t be scary and entertaining. Films like The Nightmare Before Christmas and Paranorman have become modern classics because of their fearlessness in bringing out vulnerability in potentially scary characters. No one has to miss out on the jumpscares and thrills after all.