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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

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

The Batman (2022)

THE BATMAN, Robert Pattinson as Batman, 2022. ph: Jonathan Olley / © Warner Bros. / Courtesy Everett Collection

In recent years, we have seen many franchises emerge with plenty of reboots, prequels and sequels dominating the film industry. A lot of these films tend to provide plenty of nostalgia and familiarity that is enjoyable to watch, but offers nothing new. One such franchise that is reinvented time and time again is DC’s Batman. Following Christopher Nolan’s Dark Knight Trilogy, it felt as though the franchise couldn’t get more gritty and dark, but Matt Reeves proves it can be done with this year’s The Batman. The film is filled with characters that we all know and love including the titular character himself (Robert Pattinson), Catwoman (Zoë Kravitz), and Detective Gordon (Jeffrey Wright) to name a few. Rather than fill the film with the usual villains such as the Joker, Reeves has chosen villains who have been overlooked or not as widely used cinematically with the Riddler (Paul Dano) and the Penguin (Colin Farrell) being the major villains in the film. Unlike other Batman adaptations, this Batman is not as refined in his fighting skills, making him more realistic, while also finding out more about what his parents were really like and the mystery surrounding their untimely death.

The Batman is directed by Matt Reeves who cowrote the screenplay with Peter Craig. Reeves development as a true visionary feels as though it has come full circle since he became a household name in 2008 with Cloverfield. Just as Cloverfield pushed narrative boundaries and explored alternative filming techniques, Reeves applies this innovative way of thinking with The Batman. From the telescopic point of view that opens the film, to the brilliantly shot climactic scene in which Batman beats up a load of cronies in a dark hallway with the only lighting provided by gunfire, Reeves brings an element of true imagination to a studio blockbuster and shows that not all superhero films need to contain a formulaic structure and content. The screenplay is particularly brilliant and perfectly delves into Bruce’s character without feeling too over the top, while also having plenty of fun with the Riddler’s character and his clues.

Robert Pattinson proves himself more than capable of taking on the Caped Crusader and can simply be explained as a perfect mix between Michael Keaton’s and Christian Bale’s performances. The film has more interest and focus in seeing the character as Batman rather than Bruce Wayne, which serves the narrative brilliantly. Pattinson’s Batman is unlike others because his fighting skills aren’t perfect and there are moments when he is getting beaten up by thugs. The Batman is a much more violent take on the character, but one that feels more realistic and less like a regular superhero film as it feels as though Batman is just a man wearing a suit who can fight. Pattinson’s Bruce is moody and isolated from the world, despite living in the centre of the city, while his Batman is relentless and will do anything to get to the bottom of the situation. The scene in which Batman confronts the Riddler in Arkham State Hospital is the best in the film as it shows the character break face as he tries to figure out what the villain has planned.

Playing opposite Pattinson is Zoë Kravitz as Catwoman in a turn that feels revolutionary for a character that has been overtly sexualised over the years. Kravitz’s Catwoman is unapologetic in her actions and isn’t afraid to stand up for what she believes in, even if it isn’t necessarily the morally right thing. From the moment that Kravitz steps onto the screen, the audience is immediately drawn to her. What is amazing about Kravitz’s performance is how well she develops Selina’s character throughout the film, so her turn never gets boring or loses steam. Not only does she have great chemistry with Pattinson which makes the film gripping to watch in its entirety, but Kravitz’s Catwoman is incredibly strong and capable of asserting her own agency without the need for male assistance or approval, which feels revolutionary and authentic in how it is portrayed onscreen.

The main antagonist in the film is the Riddler, who is played phenomenally by the always fantastic, Paul Dano. In a career that has shown gigantic range, Dano appears to be getting the recognition that he has long deserved from mainstream audiences thanks to his menacing Riddler. It’s an unpredictable performance that shows the same level of dedication and characterisation that he brings to films such as There Will Be Blood and Prisoners. Even when he is not onscreen, his presence is felt through the entire film in the game of cat and mouse thanks to his ability to be a perfect match for Pattinson’s Batman. Dano may not be obvious choice for a superhero villain, but he’s proven that he is more than capable of performing exceptionally well in any genre.

In a film full of brilliant performances it’s difficult to choose which one was best of all, but in this instance, it has to go to Colin Farrell who is completely unrecognisable as the Penguin, a sleezy mobster who helps Carmine Falcone (John Turturro) run Gotham’s crime scene. Although he only has a small role in the film, Farrell is absolutely magnetic and steals every scene he is in. The chase scene between him and Batman is brilliantly executed and highly intense. Farrell has been knocking it out of the park for years and proven that he is a flawless character actor who is able to fully immerse himself into each character he plays. His Penguin doesn’t feel like a caricature, although there are some funny moments, and it’s exciting to see if he will star in the sequel.

The score is composed by Michael Giacchino, who has brought us a slew of iconic soundtracks over the years spanning across various genres including family films such as Ratatouille and Up as well as blockbusters such as Jurassic World and Rogue One: A Star Wars Story. It only makes sense that someone like Giacchino fits the bill considering his resume, and he delivers his best score in years. The main character theme consists of four hard-hitting notes that have become immediately identifiable. The opening track “Can’t Fight City Halloween” is riveting and atmospheric, instantly transporting the audience into the grime and horror of Gotham City.

The Batman delivers brilliance from start to end thanks to its gritty aesthetic, innovative filming techniques, and incredible characterisation filled with great performances from both the heroes and the villains. Pattinson’s career has gone from strength to strength and with The Batman, he is able to translate his indie successes to a huge blockbuster. Reeves has done a great job of setting up this particular Batman universe, and with the hint of a new villain (probably the Joker) incorporated into the film’s narrative, it’s only a matter of time before we see a sequel to The Batman.

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

The Batman is available to view 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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A Quiet Place Part II (2020)

One of the biggest horrors to be released this year is A Quiet Place Part II which has been deemed a precursor to the state of cinema following the reopening of cinemas around the globe. Like its predecessor, A Quiet Place Part II is written and directed by John Krasinski. Following the remaining members of the Abbott who aim to reach a fellow survivor’s hideout. With Emily Blunt, Millicent Simmonds and Noah Jupe returning as the Abbott family and Cillian Murphy and Djimon Hounsou joining the franchise as survivors. A Quiet Place Part II sees a more expanded world where the creatures have taken hold and follows on directly from where the last film left off whilst also giving insight into how the apocalypse began.

Directed and written by John Krasinski, A Quiet Place Part II seeks to give a wider view of this universe than its predecessor and opens with a flashback that takes place on the day of invasion before shooting back to the moment where the events of the first film ended. Due to the death of Krasinski’s character in the first film, he is only onscreen during the flashback sequence but then is able to commit fully to direction for the remainder of the film. This helps enormously, especially as we are introduced to new characters whilst also seeing the development of returning characters. Like the first installment, this film is highly impressive in its script and has the perfect balance of horror and drama as it gives the leading characters a fully rounded arc, especially Regan (Millicent Simmonds) who aims to be more active and independent in her search for a solution.

As expected, Emily Blunt is fantastic as Evelyn and proves that she can lead this film with ease. An actress who has acted flawlessly across many genres and with A Quiet Place bringing her a SAG Award, Blunt ups the ante in this sequel. Bearing the weight of familial responsibility solely on her shoulders following the death of her husband, Evelyn tries to find safety through any means possible for her children. However, just as it seems that Evelyn is the only one capable of taking care of her family, daughter Regan shows that she is more than capable of fighting off the creatures as well. Millicent Simmonds proved herself as a fantastic newcomer in the first film and only grows more as an actress in this film. Captivating and gripping, Simmonds’ performance is impeccable and hopefully is the sign of a long lasting career in film beyond the franchise.

In support, we have Cillian Murphy as Emmett who is the survivor that the Abbott family have been searching for. Initially reluctant to let them stay for fear of being found and killed, Emmett begins to open up and finds himself helping the Abbott family find supplies for Evelyn’s son, Marcus, who is injured on the journey. Whilst the characterisation of Emmett isn’t as organic as it could be, Murphy brings a great performance and having already had experience in horror films like 28 Days Later, he makes a great onscreen pairing with Simmonds. Another great supporting turn comes from Djimon Hounsou who makes a welcome appearance later on in the film. As we can expect from Hounsou, his performance is controlled as he leads a survivors’ colony that has found a solution.

In a film where the characters are forced to live in silence, the score is the only sound we have to convey the emotion and intensity of the scene. Marco Beltrami returns to compose the score for this sequel and it feels like an extension of the previous installment’s sound. With the score starting out extremely quiet and gradually building in intensity and volume as the film begins to unfold, the music becomes as much of a character without being onscreen. The score alone could play alongside the film and still bring that horror and characterisation that the script provides.

Overall, A Quiet Place Part II is just as good as its predecessor and shows Krasinski’s strength as a writer and director. Allowing the world to gradually expand and introducing new characters while allowing existing characters to develop in their own right makes A Quiet Place Part II a rather packed film but its impeccable pacing and gripping direction grabs your attention and allows you to become immersed in the world and invested in the characters. The only thing left is waiting for a third film to round up this trilogy.

What did you think of A Quiet Place Part II? Let me know in the comments below!

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The Father (2020)

Florian Zeller’s directorial feature debut The Father was undoubtedly subject to a lot of critical and commercial praise and emerged as a favourite among many critic’s Best Film lists going into the Oscars. Starring Anthony Hopkins as Anthony, a father who is suffering with dementia, the film follows his deterioration into memory loss and despair as other characters begin to change actors and the setting begins to change. It is a deeply harrowing film that weaves feelings of thriller into the dramatic elements of the film. With great performances all round, especially from Hopkins and Olivia Colman who plays his daughter, Anne, The Father was a regular mainstay on the awards circuit this year, receiving six Academy Award nominations and winning two with Zeller and Christopher Hampton winning Best Adapted Screenplay and Hopkins receiving the Best Actor gong in a shock win.

Zeller has been a prominent playwright winning many prestigious awards in France. The Father marks his directorial debut and its script is based on his play. What makes the film so effective is how well Zeller’s direction allows the flat to become a character in itself. As we become familiarised with every room and corridor in the flat, we begin to see the changes that Anthony notices to the point where the film plays as a thriller. Although The Father is not a horror in the traditional sense of the genre, there is something deeply horrific and disturbing about watching Anthony’s world and sense of self crumble as everything becomes more distorted and confused. The way that the script is paced and structured allows for this confusion and deterioration to be carried off successfully as scenes appear to overlap and the same dialogue occurs in different flats with different actors playing the same role. The only consistent aspect of the whole film is Hopkins playing Anthony. Everything else from the plot to the characters and the setting is subject to changes to highlight the spiral into confusion.

Hopkins’ win at the Academy Awards this year was one of the most shocking results as it had seemed that the late Chadwick Boseman was the favourite to win for his performance in Ma Rainey’s Black Bottom. However, the competition in the Best Actor race was incredibly strong and both Hopkins and Boseman gave fantastic performances. Although seeing Boseman win would have been a lovely tribute on what was a life cut tragically short, Hopkins’ achievement in The Father shouldn’t be dismissed or overlooked. There is a reason why Hopkins is often referred to as the best actor working today and it is his ability to truly become the character and his fearless approach. The character of Anthony is extremely confident in himself at the beginning but we see his many layers begin to peel away as his struggles come to light and his concept of time and self begin to dissipate. Hopkins’ ability to shift the mood with the slight change of voice or a minor physical action carries the film and lifts it from being a play performed onscreen to a cinematic experience. It’s testament to Hopkins’ career that his role in The Father is being deemed one of his best considering the calibre of his actor.

In support, we have the extremely lovable Olivia Colman playing Anthony’s daughter, Anne. Colman is always a welcome presence in any film and The Father is no exception. If you’re going to have an actor playing with someone like Anthony Hopkins, you need to make sure they can match his calibre and Colman is one of the best actresses working today and is perfect casting. Coming off her Oscar winning turn in The Favourite, Colman is phenomenal as Anne, the tortured second daughter who lives in the shadow of her deceased sister, Lucy (Imogen Poots) and having to listen to her father talk to people about how Lucy is his favourite daughter. Where Anthony is seemingly happy and content at the start of the film, Anne is the opposite. Having sacrificed the happiness of her life to look after her father, Anne’s partner, Paul receives a job offer in Paris and wants her to join him. This is the perfect opportunity for Anne to begin to live her life and step out of the shadow of her family. Colman received a slew of award nominations including an Academy Award for Best Supporting Actress nomination which was great to see because she really holds her own and proves to be a stellar screen partner against Hopkins.

Composer Ludovico Einaudi has had a brilliant year as he helped bring life to Chloe Zhao’s beautiful Best Picture winner, Nomadland as well as The Father. It’s incredible how different the scores are and yet are full of Einaudi signatures that help to bring his mark to the film. The score for The Father is gentle and intense at the same time and feels like a perfect mesh between drama and thriller without being over the top or overwhelming the scenes. It’s the subtly that makes the music a perfect undercurrent that propels the scenes forward and brings those confusions to light. The music in the final scene, particularly, is stunning and it is a real shame that Einaudi didn’t receive any nomination for his efforts for either film at the Academy Awards as that would have been well deserved.

What The Father does so well in this cinematic adaptation is its ability to elevate itself from a stage production onscreen thanks to the use of the direction and performances. With a stellar script that bends all of the rules, The Father is not an easy watch by any means but it is by far one of the best films to come out of this awards season. Boasting fantastic performances by Hopkins and Colman, it may not have all of the bells and whistles that come with a lot of big blockbuster films but like Nomadland, The Father thrives in its simplicity and allows the script and characters to help bring the drama to life.

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

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Palm Springs (2020)

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

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

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

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

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

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

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

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

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

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The Prom (2020)

One of the pleasant surprises of the year for me is Ryan Murphy’s The Prom. Adapted from the musical of the same name, The Prom follows a group of Broadway actors who try to reclaim some positive PR by protesting the decision a high school in Indiana made to cancel prom after student Emma (Jo Ellen Pellman), expressed her desire to take a female date. Featuring the starriest cast of the year led by Meryl Streep and Nicole Kidman, The Prom is a hilarious showstopping event that isn’t afraid to poke fun at the world it inhabits while simultaneously delivering a sincere message on equality and the comparisons between the two worlds.

Ryan Murphy is one of busiest men in Hollywood as he is always bringing out projects, mainly on TV and there is a common theme within all of them. His desire to put LGBT+ actors onscreen and tell their stories is clearly a passion of his and has helped create incredible shows such as American Horror Story, The Politician and my favourite, Pose. Now branching into film and it is clear that Murphy’s mission isn’t slowing down. Making sure that any LGBT+ characters are played by actors in the community is important and it has resulted in one of the best finds of the year. Also, the fact that he managed to get Streep and Kidman in one film is only a credit to his power and influence in pushing Hollywood in a more inclusive direction.

The personal highlight of this film for me goes to newcomer Jo Ellen Pellman as school outcast, Emma. Berated for her sexual orientation in a town that tries to oppress her identity, Emma has to deal with hate coming from all directions, especially because her girlfriend Alyssa is too afraid to come out. This puts Emma in a hugely isolating position where the only support she receives is from her grandmother and Principal Hawkins (Keegan-Michael Key). Not only does Pellman having the acting and singing chops needed for this role, but she really delves into Emma’s struggle to become the face for those who aren’t able to express who they are.

In support we have Meryl Streep as Broadway veteran, Dee Dee Allen, a narcissistic two time Tony winner who struggles to put anyone else before herself. There isn’t much else to say except that Streep is a force of nature and as expected, pulls off an incredible performance. Just when you think she has shown you range, she goes off and adds even more strings to her bow. Her singing is brilliant and the unpredictability of her character makes for some of the film’s funniest moments as well as keeping you on edge for what she will do next.

In a small but important role is Andrew Rannells as struggling actor, Trent Oliver. Rannells usually stars on stage and small screen and has made the jump onto film with his signature charisma. One of the best numbers in the film is a song called “Love Thy Neighbor” in which Trent teaches Emma’s school peers about how people pick and choose what to take from the Bible. It’s a turning point in the film as the general opinion towards Emma starts to change. Funnily enough, the townspeople only recognise Trent from the showbiz group from his past tenure on a tacky sitcom which he loathes and doesn’t think goes with his Julliard education.

Overall, The Prom is a wonderful film that is entertaining as well as poignant for this day and age. Featuring a cast that is among the best on stage and screen, The Prom was much better than I had anticipated. There is a lot going on a times making it hard to focus on specific characters but when the glitter has settled and the characters are given their moment in the spotlight, the film really shines. Emma’s song “Unruly Heart” which consists simply of Emma with a guitar performing her song which is being watched by fellow LGBT+ teens who are inspired by her story. The tender tone of the song and sincere message it holds makes for a hugely emotional sigh of relief for Emma’s character. This is the moment where she is unashamedly herself and isn’t afraid for everyone to know.

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

The Prom is available to watch on Netflix now.

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The Snowman (1982)

One of the most beautiful animated short films ever made, The Snowman is a silent adaptation of the picture book illustrated by Raymond Briggs. Telling the story of James, a young boy who lives with his parents in the Brighton countryside. After a heavy night of snow, James makes a Snowman and wraps it in a scarf, a hat giving him a face and some buttons. He sneaks downstairs at midnight and sees the Snowman come to life and an adventure begins with James showing the Snowman around the house before the two take flight and soar to the Northern Lights.

Winner of a BAFTA TV award and nominated for the Academy Award for Best Animated Short, The Snowman has become a staple for British TV come Christmas time, commonly shown on Christmas Day alongside other Raymond Briggs adaptations. The Snowman was directed by Dianne Jackson who also worked on the animation as well which is lovely to see. Knowing that the film has been directed by someone who has the passion and knowledge for animation and knows what works and what doesn’t really enhances the love and care that has gone into this film. Despite its short running time of 27 minutes, Jackson successfully conveys the journey and developing friendship between James and the Snowman. After 27 minutes, we have been presented with two fully developed characters and really feel the heart-break that comes at the end.

The animation in the film looks like they have brought the beautiful illustrations from the book to life. Without any words, the audience can immediately capture the wonder and excitement that James is looking for. The character designs are simple yet extremely detailed and the mix of colours is captivating, especially when the Snowman and James visit the Northern Lights. The Snowman is proof that you don’t need the biggest budget and most advanced animation available to create something that is beautiful and timeless. The handdrawn style that The Snowman adapts never feels dated or old and perfectly captures the magic that story contains.

The score composed by Peter Blake and performed by the Sinfonia of London is the perfect partner with the film. Usually the music provides the backdrop but in the case of The Snowman, the music works alongside the animation. The Snowman is often categorised as a Symphonic Poem which is when the music dictates the story and vice versa. This kinship between music and film is what makes The Snowman feel like an experience or an event whenever its on. Alongside Blake’s beautiful score, there is also his iconic song “Walking in the Air” which is performed by choir boy, Peter Auty, in the film and then popularised by Aled Jones. The only “spoken” words in the film, the song is from James’ perspective as he embarks on his adventure through the skies with the Snowman.

The Snowman remains one of my favourite shorts and has been since childhood and it’s easy to see why. A beautiful story about love, friendship and grief, it’s a film that packs a punch and lingers after the credits roll. It’s a must watch every year at Christmas in my household and is a firm Christmas favourite that holds strong competition against feature length classics.

What do you think of The Snowman? Let me know in the comments below!

The Snowman is available on 4oD so make sure you have it scheduled to watch on or around Christmas day!

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The Nightmare Before Christmas (1993)

For those who enjoy alternative Christmas films, there’s Tim Burton’s marvellous creation The Nightmare Before Christmas. Based on characters created by Burton and directed by Henry Selick, the film follows the residents of Halloween Town and popular figure Jack Skellington on his quest to bring Christmas joy in a bid to change things up. A mash up of Halloween and Christmas films that also flits across various genres such as light horror, musical, drama and comedy. The Nightmare Before Christmas also has the added bonus of being a great choice for family viewing as well which I have discussed in a previous post that you can read here.

The screenplay by Caroline Thompson perfectly encompasses Tim Burton’s vision with Selick’s direction perfectly complimenting the darkly comic tones of the writing. As we shift between the two worlds, we really get the inner struggle Jack has as he remains loyal to Halloween Town but also wants to explore the Christmas traditions. The Nightmare Before Christmas feels like a collaborate effort between its various creators in production and is clearly a labour of love. The stopmotion animation is perfect for the film as it brings something new to the Disney animation catalogue. Full of amazing sequences throughout, the contrast between the darker, murkier tones of Halloween Town and the bright dazzling colours of Christmas Town keep the audience attention as the two eventually merge together.

The voice acting in this film is among the best in animation with Chris Sarandon and Catherine O’Hara doing brilliant performances as Jack and Sally. Elfman provides Jack’s singing voice and does a superb job as well. Sarandon’s voice is hugely energetic and charismatic and captures that childlike wonder that Jack has when venturing into Christmas Town and bringing the Christmas cheer to Halloween Town. Likewise, Elfman’s vocal performances are all stellar and particularly in “What’s This?” when Jack is exploring Christmas Town. O’Hara’s take on Sally is a contrast, however, as she is melancholy and longing for freedom and Jack’s affection. There are so many beautiful sequences in this film but few get as iconic as the image of Jack and Sally on the whirly tree in the graveyard (you know which one I mean).

The star of the film comes in the form of the amazing Ken Page as antagonist, Oogie Boogie. A character that is literally a sack of bugs, Oogie Boogie is hellbent on taking Jack Skellington down with the help of his three minions: Shock (O’Hara), Lock (Paul Reubens) and Barrel (Elfman). Page’s voice is full of power and his performance of the appropriately named “Oogie Boogie Song” is fantastic. You can also sense how much fun Page is having with the role. Everytime I watch this film, I am always in awe of his performance. It is definitely among my favourite voice performances of all time.

Danny Elfman’s score and songwriting is a wonder to behold and his signature whimsical sound marks another amazing collaboration between him and Burton. In many ways, this feels like Elfman’s film as much as Burton’s with Elfman providing his usual genius score and songs as well as his singing voice for various characters. The soundtrack is full of many highlights from the instantly memorable “This Is Halloween” that opens the film to the sinister “Kidnap the Sandy Claws” in which Oogie Boogie’s henchmen, Shock, Lock and Barrel plan various ways to kidnap Santa Claus.

Overall, The Nightmare Before Christmas is a film that demands to be watched time and time again. It can be watched at Halloween and certainly at Christmas, making it a perfect film to crossover between the two. Despite not being directed by Burton, it remains a key part of his filmography and has become synonymous with his image. Burton’s vision is so strong that people tend to forget that it was Henry Selick that directed the film. The resulting film is a fantastic look into the dark side of imagination that manages to be both creepy and fun at the same time.

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

The Nightmare Before Christmas is streaming on Disney+.