Tag: steve mcqueen

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Top 5 Carey Mulligan Performances

One of the best actresses working today, Oscar nominee Carey Mulligan is a brilliant talent who can excel in any genre of film. Her latest venture as unconventional vigilante Cassie in the fantastic Promising Young Woman has made waves and is very likely to bring her another slew of award wins and nominations. She can also be seen in the Netflix drama The Dig which further cements her place as Hollywood royalty (you can read my review for The Dig here). Having worked with a variety of auteur directors and mainstream directors, Mulligan is one of the most versatile actresses working today. Having played strong women for her whole career, Mulligan has an effortless flair where she is able to tap into her characters and really dig deep.

As Mulligan’s star has only proven to rise and rise, it’s clear that she is at the very top of her game and with that in mind, I wanted to celebrate her incredible career by looking back at my top 5 performances. Just these choice alone show her range and ability to adapt to both leading and supporting roles with ease.

Here are the top 5 Carey Mulligan performances in chronological order:

An Education (2009)

Mulligan’s breakthrough as a lead in Lone Scherfig’s stellar coming of age drama, An Education. Set in the 1960s with the script written by Nick Hornby, Mulligan plays Jenny, a 16 year old school girl with aspirations to go to Oxford University who is seduced by an older man (Peter Sarsgaard) and her life quickly veers off track. Mulligan quickly gathered global acclaim for her performance as intelligent and naive Jenny winning her the BAFTA for Leading Actress and receiving a slew of nominations at the major awards show including an Academy Award nomination. Personally, I think she should have won for her performance but hopefully we will see her victorious. Her performance is tremendously layered and contrasted as Jenny is clearly a strong and capable young woman but at the end of the day she is still a teenager and is misguided by the adults around her.

Never Let Me Go (2010)

A film often overlooked but has long been a favourite of mine, Never Let Me Go is a beautiful adaptation of Kazuo Ishiguro’s best selling novel. Directed by Mark Romanek and a script written by Ex Machina director Alex Garland, Mulligan shines as lead character Kathy H. Following a group of children who are raised to be “donors”, giving their vital organs for operations when grown, Never Let Me Go shows the human side to these characters whom society doesn’t deem worthy. Having loved her friend Tommy D (Andrew Garfield) since they were in school and watching him and her best friend, Ruth C (Keira Knightley) get in a relationship, we see how Kathy’s life seems to be shunned to the side by her friends as well as society. We see the world through Kathy H’s eyes and through Mullugan’s performance, we invest and see the film as a drama over a dystopian story.

Drive (2011)

2011 saw a double bill of phenomenal supporting performances by Mulligan with the first being her turn as Irene in Nicolas Winding Refn’s Drive. When it comes to this film, the mind immediately goes to Ryan Gosling as the lead character but among all of the absurdity and violence that occurs in this film, it’s Mulligan’s performance that grounds the film and exposes the emotional attachment that the lead character has in the film. Living next door to The Driver (Gosling), Irene lives with her young son and a relationship between her and The Driver quickly develops. However, when Irene’s husband is released from prison, problems unfold. Mullugan isn’t in the film a lot but she works with what she has to ensure that her presence is felt throughout the film, especially when her safety is at risk.

Shame (2011)

The next selection is the second supporting role that Mulligan had in 2011. If you are a regular reader then you know how I absolutely love Steve McQueen’s films (read my McQueen ranking here) and Mulligan is perfectly cast as Sissy, sister of protagonist Brandon (Michael Fassbender). The film revolves around sex addict Brandon who finds his addiction getting worse and out of control. His life is turned upside down when Sissy arrives unexpectedly at his apartment with nowhere else to go. Both siblings have their troubles as Sissy struggles with self harm and depression but she is hopeful that the two can help each other get over their problems. Shame is not an easy film to watch and it is extremely explicit with the issues discussed but the direction and performances showcase the range and talent. Mulligan is a supporting role but her performance is just as important to the film as Fassbender’s. It is thanks to Sissy’s character that we really see the conflict in Brandon laid bare for the audience to see.

Promising Young Woman (2020)

Probably the most fearless role Mulligan has done, Promising Young Woman deserves all of the acclaim that it has and more. I have written a full review which you can read here. Needless to say that Mulligan will no doubt receive an array of award nominations and hopefully win as well. Her performance as Cassie, a young woman who’s future was ripped away after her best friend was raped and committed suicide, is heart breaking and terrifying, showing how far one will go to right the wrongs.

There are even more performances I could have included in this list but the ones I have selected really showcase Mulligan’s range in terms of screen time and genre. The consistent thread with all of her performances is that she always makes the most whether she is the protagonist or has a smaller role. Mulligan is an actress who adapts an intellectual approach and clearly delves deep into her characters and with Promising Young Woman, it feels like she has cemented herself as a strong leading woman to the masses.

What is your favourite performance by Carey Mullugan? Let me know in the comments below!

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Education (2020)

Rounding off the incredible Small Axe series is Education. Veering away from police discrimination completely and focusing on the mistreatment of black children by the education system. Following schoolboy Kingsley Smith (Kenyah Sandy) who is sent to a school for the “educationally subnormal”, a grotesque term used throughout for children who struggle academically. Kingsley cannot read but is clearly very bright and has been sent to this school due to racial profiling and the lack of support provided for non-white children in mainstream education. Despite the promise of receiving one on one care and a class tailored to his specific needs, what Kingsley enters is a school that deprives its students of any lessons and any respect. The children are neglected with the assumption that they will enter “menial” jobs afterwards that don’t require a formal education. As Kingsley’s mum, Agnes (Sharlene Whyte) begins to question whether her son is really benefitting from his new classes. Along with a local politician, Agnes assists in helping bring the issues of the education system to light.

McQueen’s decision to conclude Small Axe with Education is an interesting one. There have been references to educational discrimination through Small Axe for example at the start of Red, White and Blue when we see a young Leroy Logan forced to undergo a stop and search right outside his school by police whilst wearing his uniform and there are references to Alex’s school performance in Alex Wheatle. This makes the thread into Education flow really nicely and finish the series showing that the problems lie within all systems. Starting with Kingsley at a planetarium with his class as they sit in a presentation on Andromeda which is then contrasted soon after with an English lesson in which he struggles to read an excerpt from Of Mice and Men, it’s clear that Kingsley is a capable student but needs more support from his teachers. Rather than offer more help and guidance, his English teacher chastises him in the middle of class and turns his struggle into a laughing stock. Immediately, we are introduced to the prejudice faced as Kingsley finds it hard to express to his mum why it is that he is being picked on constantly.

McQueen has a knack for picking great newcomers. As Kingsley, Kenyah Sandy is a perfect fit as he conveys that conflict that the character has perfectly. Wanting to please his mum and do well in school, Kingsley starts to miss mainstream education when it’s evident that his new school does not have his best interests at heart. With the help of his mum, sister and a Saturday school set up to help the children who aren’t being supported, Kingsley is given the opportunities that he should have been afforded. Watching the final scene in which he reads aloud to his family is one of great relief and emotion as Kingsley pushes through the doubts of those in the educational system who has wronged him. The maturity that Sandy brings is beyond his years and yet he acts as if he has a full understanding of the gravity of what has gone on.

A lot of the politics within the film is discussed among the adult characters and it is Sharlene Whyte as Kingsley’s mum, Agnes, is my personal highlight. Managing to juggle two jobs and her children’s wellbeing, Agnes may seem dismissive of Kingsley’s objections initially but grows to doubt the education system and their intentions. Whyte’s portrayal of Agnes is subtle and laid in such realism that you feel her struggle and horror as she learns of the racial bias that is happening to towards the black community. The scene in which she is at the group meeting she says few words but Whyte conveys a lot more through her expressions that words aren’t needed.

It goes without saying that watching Small Axe has been consistently thought-provoking and educational as well as captivating through McQueen’s impeccable talent for storytelling. I have said before how he is one of the most exciting filmmakers working in the industry today and releasing a feature film anthology series was a bold move that has paid off. Much like his initial career as an artist, McQueen is constantly pushing the envelope and developing new ways to convey a story through film in different ways. This is what is so exciting and it feels revolutionary to watch Small Axe. The brilliance of all five films, and Education in particular, is that they retain their impact even when watched on the.small screen which shows the mastery behind the writing and directing.

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

Education is showing along with the rest of the Small Axe films on BBC iPlayer!

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Alex Wheatle (2020)

The penultimate film in Steve McQueen’s Small Axe anthology series is named after a prominent figure of the Brixton riots that took place in 1981. Alex Wheatle sees the titular character (Sheyi Cole) serving a sentence after partaking in the riots and connecting with his roommate, Simeon (Robbie Gee) as he shares his story from his troubled upbringing in the system to adulthood where he starts to learn his roots and how that fits into the modern day society where the police are constantly mistreating minorities on a regular basis. Just like the other films in this series, Alex Wheatle is another unflinching look into the ordinary life of a black man.

Like the previous installment, Red, White and Blue, Alex Wheatley decides to chronicle a specific person’s experience rather than an event as found in the first two films. Where Alex Wheatle differs from its predecessor is it goes into detail of how racial prejudice is evident in the social services system. From the moment he is put in social services’ care, it is clear that Alex has entered a system that doesn’t care for him. From the constant physical abuse and daily beratement, Alex’s struggle to fit in at school and have a healthy home life is basically impossible from the outset. McQueen shifts between the present and past so we can see the parallels between Alex’s child and adulthood even if the events are different.

Sheyi Cole is fantastic as Alex, playing him from his teenage years to adulthood. With the film itself being named after his character and being onscreen for the majority of the time, it could be easy for a newcomer to struggle to remain consistently captivating but Cole does a brilliant job. From Alex’s time during childhood in a foster home where he was abused and picked on constantly by the matron because he is black to his time among the black community as an adult where he is an outcast as he doesn’t acknowledge his blackness or know his roots. Alex goes on a journey to find his identity and over time he is shaped by the people around him becoming more comfortable in himself and aware the political climate.

As Alex’s cell mate, Simeon, Robbie Gee also pulls off a flawless performance. Simeon acts as Alex’s polar opposite. A Rastafari who is completely aware of himself and his identity, Simeon encourages Alex to read a wide range of literature to better himself when it comes to his views on the world. Acting as the inspiration for Alex to become a writer, his presence is so integral to the plot and development of Alex’s character. He is also the catalyst to Alex’s built up tension and anger as his ongoing hunger strike leads to a bout of diarrhea which causes Alex to lash out due to the smell. Naturally Simeon manages to calm Alex and ask him to share his story. Simeon is a character created from Wheatle’s memories as he acted as a consultant for the script meaning that you get the full story from his perspective.

Reaching into another area of London, Alex Wheatle shows that these communities are connected by the thread of racism and prejudice that is thrust upon them by systems that are meant to serve and protect them. Focusing on the person rather than the riots also made sure that the audience fixation remains on Wheatle whereas in Mangrove, the actual protest is such an important part of showcasing the injustice the whole group faced. Another interesting choice by McQueen was not immediately divulging what Alex’s crime actually was so we can naturally see the events of Alex’s life unfold without actually knowing what to expect except for the fact that he ends up in prison.

What did you think of Alex Wheatle? Let me know in comments below!

Alex Wheatle and the rest of the Small Axe films are available to watch on BBC iPlayer now!

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Top 5 Films of 2020

2020 has certainly been a whirlwind of a year for many reasons thanks due to global pandemic. Like many others within the film community, I have found solace in films during the difficult times and the closure of cinemas have resulted in the majority of new releases being released onto streaming services. My website has seen huge growth and I feel more confident in my writing now thanks to all of the support. This year also saw me review my first lot of film festivals with London Film Festival and Raindance Film Festival providing unforgettable experiences.

As a lot of people begin to post their Best of 2020, I thought I would do the same. Rather than do a top 10, I thought I would do a top 5 instead (it’ll become clear why when you see my choices). Bear in mind that I am counting films that were released after this year’s awards season so films like Parasite won’t be included (if I had included them, it would have to be a top 30 and I don’t have the time sorry!). I will be writing a mini review for each but my full reviews that be accessed by clicking the links.

Before I commence my top 5, I want to give an honourable mention goes to Pedro Almodóvar’s spectacular short film, The Human Voice. As my list consists of feature length films, I thought I would mention The Human Voice here. Featuring a stellar Tilda Swinton performance (as if she delivers anything less!), it’s a fantastic glimpse into the deterioration of a woman whose life slowly becomes to fall apart as she comes to terms with the end of her relationship. You can read my fuller review for The Human Voice here.

Without further ado, here are my top 5 films of the year:

5) Soul

Kicking off this list is the first of two animation choices. In a year of strong animation output, Pixar’s Soul was the most discussed, especially since their awards attention was going to be pushed onto this film more than Onward which was released just before lockdown. Just when you thought Pixar couldn’t get bigger with their imagination, they got Pixar legend Pete Docter in to direct yet another masterpiece. A film that delves deep into one man’s life and his purpose, Soul is mesmerising in both its animation and narrative. At times abstract and bizarre, it feels artistic at times thanks to the limitless minds at Pixar which is what makes the studio so exciting. Boasting an A list cast and a score to die for (pun intended), Soul kicks off this list with hugely high standard.

4) Small Axe

So my number 4 choice is a tad controversial as I have given it to Steve McQueen’s revolutionary anthology film series Small Axe rather than a specific film from the collection. Hear me out though! I initially had compiled a top 10 and unsurprisingly, it was overwhelmed with the films from Small Axe and so I wanted to acknowledge McQueen’s phenomenal cinematic achievement in one go. Spanning several decades and showing the discrimination faced by the West Indies community in London, Small Axe explores well known stories such as first installment Mangrove and lesser known issues as seen in the concluding installment Education. Each film as good as the last, McQueen is one of the most exciting directors working today (you can read my article on his films here). He is a fearless filmmaker who isn’t afraid to confront the racial issues head on, whether that is through the realistic brutality endured at the hands of the police sworn to protect or the vile discriminatory language used to belittle the community. Small Axe is an anthology series that has flipped the script on how filmmaking can be perceived as well as making that important statement that the issues explored haven’t completely gone away.

3) Da 5 Bloods

It couldn’t be a proper top 5 without the incredible Spike Lee. Following on the flawless Blackkklansman with the equally stellar Da 5 Bloods, Lee takes us through the African-American experience in Vietnam during the war and its aftermath. Following 4 men returning to Vietnam to locate their fellow soldier’s body, Da 5 Bloods is a film that makes it statement, showcasing the struggle of men who fought for a country that treats them unfairly. Mixing in different forms of film to provide a wider historical perspective, Lee is a true master of making his films into political statements that have plenty to say. His films are made to show the disturbance within a system that is sworn to protect its people. The racial discord is clearly one that is still evident today and those connections from the Vietnam War to now is evident in how Da Bloods are treated throughout the film. Disrespected wherever they go, the men can only find true solace in each other because no one else has had their experience both in the literal war and racial war.

2) I’m Thinking of Ending Things

My number 2 pick takes us deep into the wonderful world of writer-director-genius Charlie Kaufman with his adaptation of I’m Thinking of Ending Things. In true Kaufman style, what begins as a straightforward narrative in which an unnamed woman (Jessie Buckley) contemplates ending her relationship with partner, Jake (Jesse Plemons) soon turns into a winding labyrinth into the subconscious where reality and fiction and time and space become completely fluid to the point where nothing really makes sense. Eventually, the woman’s name is changed on a regularly basis and the tone shifts from drama and comedy to thriller and suspense. It’s a film that doesn’t allow you to glance away for a moment. Kaufman really is one of a kind but it is his mind and imagination that has drawn fans in again and again. His films are entirely up to interpretation so one person may take something from the film whereas the person next to them will take another. I’m Thinking of Ending Things is a film you will either love or hate but the bottom line is you will feel strongly about it one way or other.

1) Wolfwalkers

Just as we begun the top 5 with an animation, we’ll end it with an animation as well. Easily my top pick for this year is the incredible Wolfwalkers. Cartoon Saloon’s latest offering is beautiful beyond words and becomes even more magical on every rewatch. Available now on Apple TV, not only does it deserve to sweep the animation categories, it fully deserves to be a contender among the Best Picture nominees when the time comes. I go into more detail on my review which you can access by clicking the film title but be assured that Wolfwalkers is a film that will impact you long after viewing it. From the contrasting artistic styles to showcase the conflicts within the film to the spellbinding music, Wolfwalkers is a film that provides escapism while also incorporating important life lessons and folklore in a way that is engaging to audiences of all ages.

While this year has been one full of challenges and sadness, film can always be a portal to escape those troubles for an hour or two. Despite the closure of cinemas, this has been an extremely strong year for film and the upcoming awards season has proved to show huge competition, particularly in the acting, directing and writing categories. A year of diversity across all mediums has shown the desire and importance to create films from cast and crew from varying background. Not only does this give something different to what the usually white mainstream cinema is accustomed to but the differing perspective makes way for revolutionary discussion and helps to break those barriers.

What were your favourite films this year? Let me know in the comments below!

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Red, White and Blue (2020)

The third installment of Steve McQueen’s revolutionary Small Axe anthology series is Red, White and Blue chronicling the career of Leroy Logan, a forensic scientist turned police officer who aims to tackle racism in the system by encouraging more non-white people to join the force. His goal to fix the system does not come without challenges as his colleagues are openly racist and his own friends and family look down on him for joining the force. Whereas the previous two films in the series have looked at how black people were treated from their side explicitly and what Red, White and Blue does is show how black people were treated from within the police force itself.

Just as McQueen explores the racism at the hands of the police in the previous two films, we get an even more intense and first-hand perspective through PC Logan’s point of view. Despite excelling as an officer, his unwillingness to accept the racist treatment handed out by his colleagues costs him promotions and eventually leads to endangerment when they ignore Logan’s pleas for backup when he is pursuing and attacked by an armed suspect. Whether he is part of the force or not, Logan is treated as a suspect despite having not committed any crimes just as he was searched in his school uniform as a child. McQueen only covers the beginning of PC Logan’s career rather than presenting a full span of his incredible achievements but it works because we really get into the brutalityand prejudice that he faced when he initially joined. If McQueen had decided to do a full blown biopic then maybe certain significant events would have been overlooked which would undermine PC Logan’s struggle to have his voice heard by a force that historically doesn’t wish to hear it.

John Boyega’s lead performance as PC Leroy Logan is fantastically layered. Aiming to change the system from the inside out, Leroy experience racial attacks from his white colleagues at the force and hatred from the black community who view him as a traitor for joining the police. With Boyega being a huge advocate for the anti-racist movement, it is a clear match in heaven for McQueen to work with him. Honestly, it’s a collaboration I have been wanting for years and it paid off. Boyega is such a charismatic actor that his success in the Star Wars films can make people overlook his range but he is stellar and carries the film on his shoulders. Showcasing the building frustration and conflict that PC Logan felt as he was attacked from both the police who believe he should accept their racism and those in the black community who view him as a traitor. The scene in which he confronts his colleagues in the locker room after discovering abuse scrawled on his locker is hugely intense and marks a turning point in which Logan becomes more active and vocal about his goal to end racism within the force.

The scene in which PC Logan pursues the armed suspect is an amazingly shot scene. A single running shot showing Logan making his way through an industrial printing factory floor by himself highlights the problems that he faced perfectly. He apprehends the suspect alone after requesting backup numerous times but does not receive the support of his fellow officers. Whereas Logan is indirectly punished for speaking out against their racism, the other officers do not face punishment for abandoning him in the field despite being a street away. This scene hammers home how Logan had to build himself up without the help and support given to his white coworkers. It’s a scene of little dialogue except when Logan is desperately asking for help. Still he pushes forward and the tension builds and builds until he is attacked and manages to arrest the perpetrator.

Red, White and Blue may not have received as much coverage as Mangrove and Lovers Rock have but it deserves a viewing just as much. Telling the story of a man who introduced important change within the police force and encouraged new rules for how people of colour were treated by the police is something that has been grossly overlooked by the media at whole. Steve McQueen is telling these stories now so other people can take inspiration from their struggles and achievements and make their own changes.

What did you think of Red, White and Blue? Let me know in the comments below!

Red, White and Blue is available to view on BBC iPlayer now!

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Small Axe (2020)

One of the most exciting releases of the year comes in the form of Steve McQueen’s Small Axe anthology series. Consisting of five films that explore the racial tensions during the late twentieth century in the West Indies community London, Small Axe is an achievement worthy of much awards discussion. I have written on McQueen’s previous feature films which you can read here. With Small Axe, McQueen only proves further why he is one of the most exciting and fearless directors working today.

Since their release, I have been working my way through the Small Axe reviews and will link them below for easiness. Having them all in this post will make the website look a lot tidier so for my thoughts on each individual film, simply click on the film names below!

Here are the links to my reviews for each of the Small Axe films:

Mangrove

Lovers Rock

Red, White and Blue

Alex Wheatle

Education

What did you think of the Small Axe series? Let me know in the comments below!

All films in the Small Axe series are available to view on BBC iPlayer!

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London Film Festival 2020: Lovers Rock

The last film on my list brings the whole Festival to full circle as it ends with the second episode of Steve McQueen’s Small Axe series named Lovers Rock. The film spans a single evening taking place at a house party in Ladbroke Grove and, much like Mangrove, serves as a safe place for the black community to gather. Following protagonist Martha (Amarah-Jae St. Aubyn), a young woman who sneaks out of her house to attend the party. The party is fun at first as she dances with her friend Patty but soon enough the darker undercurrents start to seep through as she is harassed by men at the party as well as a group of white men outside. Her experience ties in with the darker experiences of other partygoers, mainly women. Patty leaves because she doesn’t want to be left alone with a stranger and another woman, Cynthia, is raped by a man who had harassed Martha earlier.

Despite its short 68 minute running time, McQueen makes the best of this time by creating a complex intertwining of relationships in the short duration of events. Martha’s experience is one that spreads across many emotions from elation at attending the party with her best friend, Patty to the fear of being harassed by a fellow partygoer to the horror of the violence. The script written by McQueen and Courttia Newland is compact and wastes no time in getting into the rush of party preparation while allowing some time for the characters to naturally flourish in the second act before violence kicks off. This short snippet of time exposes us to a lot of characterisation and actually gives us a good idea of who Martha is and what kind of person she is. The shift in gender dynamic is brilliantly done as the women lead the party by dancing on their own but after the incredible “Silly Games” scene which I will discuss later, the party is overrun by the men who are frantic. As night goes on, the party becomes more aggressive and violent until the walls seem like they are closing in, making for a claustrophobic experience. The safe place doesn’t feel so secure any more to Martha.

Amarah-Jae St. Aubyn is brilliant as lead character, Martha. A normal woman who is excited to party with her friend but has a strength that means she isn’t afraid to stand up for herself. What St. Aubyn does so well is bringing out Martha’s character little by little through actions and mannerisms. When Cynthia is raped, Martha is unafraid to stand up for her and stop him. Even when he squares up to her and towers over her, she stands tall. You would not think that this is St. Aunbyn’s first leading role as she is so natural in the role. It’s a great character arc as well. From a timid young woman sneaking out to party to the final shot of her sneaking back in a d clearly feeling changed from her experience. We see the changes that she has experienced on her face in those final moments.

In the supporting role we have Micheal Ward as fellow partygoer, Franklyn, who proves to be a perfect match for St. Aubyn. The interaction between the two works perfectly as they bounce off each other. Franklyn acts as a fly on the wall to the party. He doesn’t partake in the men’s dancing and is dedicated to making sure Martha is safe despite having never met her before this night. Ward isn’t in it that much but his presence and protection can be felt when Martha is wandering around the party. The final scenes in which he is in where he encounters his boss who is unhappy that he brought Martha to the shop bring the microcosm of the party to the outside world. Franklyn serves as Martha’s guide for the party and arguably to life, introducing her to a world that she hasn’t encountered before.

The highlight scene is when Samson, the DJ, cuts the music to get the attendees to sing “Silly Games” by Janet Kay accapella and it is a wonderful choice. The partygoers keep dancing and create the rhythm together in a way that highlights the tightness of the community. McQueen really is a genius when it comes to intertwining art forms in his films and this is a great way of incorporating music in a way we haven’t seen before. Because the music has been so continuous as well it helped to slow the pace down for a little bit as the shift from fun to chaos ensues.

The music choices in Lovers Rock provides the ongoing flow for the episode and adds to the frantic nature of the party. An eclectic mix of lovers rock, reggae and blues, Lovers Rock is brimming with black music and it is a brilliant soundtrack. The hectic and continuing nature of the music becomes synonymous with the action as though it is playing an active role.

Lovers Rock closes the London Film Festival on the 18th October and will show on BBC One in the United Kingdom on

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London Film Festival 2020: Mangrove

The big opener for this year’s London Film Festival comes in the form of Mangrove, directed and co-written by the incredible Steve McQueen. Mangrove is the first episode of McQueen’s Small Axe miniseries due to premiere on BBC next month. The series explores racism in Britain throughout the years with all episodes based on true stories. McQueen is one of my favourite directors so Mangrove was one of my must-sees of this year’s festival. I have previously written about McQueen’s filmography which you can read here. Mangrove tells the story of the titular restaurant, a black owned business that is constantly harassed and raided by the police from the moment it opens. The Mangrove becomes a safe haven for people of colour to be and this creates concern within the corrupt police system, particularly at the hands of PC Frank Pulley, who seems determined beyond reason to bring the Mangrove to the ground.

Shaun Parkes’ leading performance of Frank Crichlow is captivating and powerful in his aim to bring forth the struggle. All Frank wants to do is run a business but the police are unwilling to allow this to happen and will do anything to shut the Mangrove down. Initially Frank is reluctant to use the Black Panthers’ assistance as he would prefer to avoid politics but he begins to understand that the Mangrove itself is political and he can’t avoid it no matter how hard he tries. What transpires is the coming together of the black community in an effort to exploit the brutality of the police by organising a protest that begins at the Mangrove establishment. Parkes’ portrayal of Frank is moving and poignant in these uncertain times. As minorities are persecuted and stopped in the street for no reason or than the colour of their skin, Frank’s story is just as important now as it was then. McQueen’s parallels with the 1970s is clear and makes Mangrove a protest piece in itself.

Letitia Wright is stunning as Altheia Jones-LaCointe, a prominent figure in the British Black Panthers movement. As expected, she is a strong woman who seeks equality for minorities. We first see her persuading factory workers to join a union so their voices can be heard. Wright provides a powerhouse performance and this is perfectly shown in the scene when she gives her speech at the Mangrove protest. She is riveting and makes her presence known, a real force to be reckoned with. Wright’s career has gone from strength to strength in recent years and it’s brilliant to see her collaborate with Steve McQueen. She is perfectly cast as Altheia and brings that passion and fire required for the role.

The supporting cast also do a phenomenal job led by Malachi Kirby who plays activist, Darcus Howe and Sam Spruell who plays Constable Frank Pulley, an instigator of the racism towards the black community. Alex Jennings also does a great job as the upper class and uptight Judge Edward Clarke, whose bias towards the police is soon shattered as the corruption begins to seep through during the trial. The details put into everyone’s character becomes distinct and identifiable as the Mangrove Nine go to trial.

McQueen’s handling of the protest scene is done perfectly. To reflect its chaotic nature, McQueen makes use of multiple observational shots from all kinds of angles, including the observation slot in the police car. When Altheia is delivering her speech, a part of the shot centres on her shadow on a nearby car in the rain. It’s the kind of shot you would see in a cinematic feature but it works extremely well here. The power of the protesters against the police is built up and soon enough the latter begins to fight back and take away placards and signs. The brutally of the police here is delivered in a fully real way in true McQueen fashion, unflinching and unapologetic.

Despite being made for TV, McQueen does a fantastic job of making Mangrove feel like a cinematic experience. As I have previously said, he has never put a foot wrong and the passion he has for this project is evident. The detail in character development to song choices and the perfectly balanced script allows Mangrove to show the people behind the trial and the importance of their fight against the police.

Mangrove will air in the United Kingdom on BBC One on the 15th November.

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Steve McQueen: Film Ranking

One of the most revolutionary film directors to emerge this century so far is Steve McQueen. A Turner Prize winning artist who has turned his attention to feature films, McQueen’s realistic and fearless approach to exploring serious topics such as domestic abuse and slavery as well as taboo subjects such as sex addiction. When it comes to mcQueen, nothing is off limits and he isn’t afraid to expose the realities of the film’s subjects. He is also the first black filmmaker to win the Acaemy Award for Best Picture for 12 Years a Slave. I also think he should have been rewarded the Best Director Oscar as well although Alfonso Cuarón did a great job with Gravity.

Given the current landscape, I think it is now more important than ever to highlight the talent and calibre that people of colour bring to the film industry. The film industry is so important when it comes to representation and sadly, it just isn’t where it should be. Film is a fantastic medium to express personal stories, provide escapism and bring relevant topics and subjects to the forefront as point of discussion. I thought it best to take a look into McQueen’s amazing filmography and do a ranking of his films. There are only four films but each one is a standout in their own right so as usual, it will prove to be a challenge.

Here are my mini reviews for each McQueen film follows by the ranking:

Hunger (2008)
McQueen’s feature debut stars Michael Fassbender as IRA protestor, Bobby Sands, who takes part in a hunger and no-wash strike. This is a fantastic debut for McQueen and deservedly won him a BAFTA for Special Achievement by a British Director, Writer or Producer for their First Feature Film. We watch as Sands figuratively and literally begins to fade away as he becomes the symbol for the strike. McQueen doesn’t hide the dirtiness and the discomfort in watching Sands lose the majority of his weight to the point where he can’t function. Technically, the film appears simple but it is comprised of many brilliant shots, one in particular being a 17 minute non-stop conversation between Sands and Father Moran (Liam Cunningham). By bringing a minimalist and realistic angle to the film, it actually exemplifies the horrors of the strike. Hunger put both McQueen and Fassbender on the map and it made way for the former’s unapologetic point of view approach to filmmaking.

Shame (2011)
For his second feature, McQueen reunites with Fassbender who plays Brandon Sulliven, a business executive who has an addiction to sex. Much like Hunger, McQueen does not flinch away from the realities that sex addiction has. There is nudity, both male and female, in abundance as well as underlying issues of family conflict and self-harm. This is not a film to be watched lightly as it is even more uncomfortable than its predecessor but it talks about a topic that people consider taboo. It also explores classism and the idea of the untouchable rich white male. During his usual work day, Brandon religiously watched pornography on his computer and when this is discovered, it is automatically assumed that his intern is the one who has been downloading and watching it. The idea that someone like Brandon couldn’t be associated with sex addiction is an idea that McQueen rejects in Shame. Brandon surrounds himself with sex to avoid the fact that he is lonely and unfulfilled.

12 Years a Slave (2013)
The film that propelled McQueen to the major awards circuit, 12 Years a Slave is possibly the most explicit and “real” feature film about slavery in mainstream cinema. Based on the memoir of the name same by Solomon Northup, a New-york born black man who was kidnapped and sold as a slave in Louisiana. Northup is played by Chiwetel Ejiofor with Lupita Nyongo’o as fellow slave Patsey and Fassbender in his third McQueen film as slave owner Edwin Epps. It’s a star-studded cast but what McQueen does so well is focus so much on the characters and their development that the audience forgets which actors they are watching and it becomes almost documentary like. McQueen does not hold back on the brutality that the slaves face and it goes beyond daily beatings as we see Epps rape Patsey and Epps’ wife feel resentment for Patsey rather than her husband. It’s a film that demands conversation and McQueen refuses to allow the film to be whitewashed or edited to appeal to white audiences in the way that films such as Song of the South does.

Widows (2018)
The latest feature film released by McQueen is an amazing tour de force starring Viola Davis as Veronica, a woman recently widowed after her bank robber husband, Harry (Liam Neeson) and his cohorts are killed when their car blows up. Veronica along with the other widows of the men who died must work together to get some money that is owed to a crime boss. The team comprises of Veronica, Linda (Michelle Rodriguez), Alice (Elizabeth Debicki) and Belle (Cynthia Erivo) and it’s so empowering watching such a huge film led by women and more importantly such a diverse cast of women. Anyone who claims that women cannot lead a film because it doesn’t bring in money is mistaken as the film was a critical and commercial success. What makes the film so engaging is how well-rounded each of the women are. We get a grip of their backgrounds in a few scenes and yet the audience understands their story and motivations to get the money. Even when Belle, who wasn’t one of the original widows is brought into the plot, is introduced, her backstory as both a beautician and babysitter is made clear highlighting her struggling financial position.

Although it is not the longest filmography, McQueen has proven why he is one of the most exciting filmmakers working today. I have included discussions of each of the films above when talking about Michael Fassbender and Viola Davis’ best roles which you can read here and here, respectively. I think that only demonstrates McQueen’s talent as director that he is able to create career-best films for his stars. His ability to create characters that are well-rounded is flawless and he has only demonstrated improvement as we go from a single standout performance in Hunger to four equally developed characters in Widows where he allows women to take the lead.

Here is my ranking of McQueen’s film:

1) 12 Years a Slave (2013)

2) Widows (2018)

3) Hunger (2008)

4) Shame (2011)

Do you agree with my ranking? Which McQueen film is your favourite? Let me know in the comments below!

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Top 5 Michael Fassbender Performances

One of the best actors working today without a doubt is Michael Fassbender. Born in Germany and raised in Ireland, Fassbender’s career has gone strength to strength showcasing his range from small-budget indies to massive blockbuster franchises. Garnering critical and commercial acclaim winning a slew of awards including the Venice Film Festival’s Volpi Cup for Best Actor (for Shame) as well as two Academy Award nominations for Best Actor in a Leading Role and Best Actor in a Supporting Role (for Steve Jobs and 12 Years a Slave, respectively). Fassbender never fails to push the bar and standout in whatever film he is. He has worked with a variety of huge directors such as Steve McQueen, Quentin Tarantino, Ridley Scott and Danny Boyle to name a few and is currently working on Taika Waititi’s new film Next Goal Wins.

There are so many performances that I could list but I managed to compile a list of my top favourite performances which I think are the best of the best. Hopefully if anything, this list will demonstrate the range that Fassbender displays from an Irish activist on a hunger strike to an English soldier in World War II to an American billionaire. He has really established himself as one of the most exciting method actors working in Hollywood today.

Without further ado, here are my top 5 Michael Fassbender performances in chronological order:

Hunger (2008)

The role that catapulted Fassbender to the A List is not one to be overlooked. The first collaboration between Fassbender and  Steve McQueen already shows the fearlessness that they both have in their filmmaking and the roles that Fassbender chooses to take on. Fassbender plays IRA member Bobby Sands who takes part in a hunger strike for 66 days and also participates in a no-wash strike. The film also marks McQueen’s feature debut and won him the Camera d’Or at Cannes Film Festival. McQueen’s minimalist direction combined with a character driven script includes an incredible 17 minute shot in which Bobby is challenged to end his protest by Father Moran (Liam Cunningham). What Fassbender does so well in this film and his subsequent performances is his ability to pull off performances that are memorable but not over the top. What Hunger does is allow the focus to be on the performances of the actors because the film doesn’t have bells and whistles and special effects. Fassbender’s performance earned him a British Independent Film Award for Best Leading Actor and it’s easy to see why. His preparation for the role is evident in his dramatic weightloss pre-production. Hunger proves to be a great start when looking at the filmography for Fassbender as it shows his willingness to pick good roles and his dedication to method acting.  

Inglourious Basterds (2009)

Following his stellar lead in Hunger, Fassbender starred in Quentin Tarantino’s fantastic revenge thriller Inglourious Basterds which is a fictional retelling of Nazi-occupied France during the peak of the War. The cast is led by Brad Pitt as Aldo Raine, the leader of the Basterds and stars Christoph Waltz in an Oscar-winning dazzling supporting turn as SS Officer Hans Landa, the latter of which was the major talking point for critics and audiences alike and with good reason. ANother brilliant aspect that comes from this film is Michael Fassbender’s small role as Leiutenant Archie Hicox, an English soldier drafted to France to assist the Basterds with their plan. His role is only short-lived in the film but what he lacks in screentime, he makes up for with charisma. Fassbender is memorable as the quick-witted soldier as he struggles to fit in with the others who are hellbent on revenge. The scene in the underground bar remains one of the best Tarantino moments and it’s largely thanks to Fassbender’s control of the character. As expected in a Tarantino film, the characters are larger than life and it’s clear that Fassbender is enjoying playing Hicox. As mentioned before, this is only a small role but it is a rewarding point in Fassbender’s career as it shows he can standout in a star-studded cast.

Shame (2011)

Fassbender’s second collaboration with Steve McQueen is a deeply explicit look at sex addiction. Fassbender plays Brandon, a high-living bachelor living in New York who is constantly having sex with prostitutes and masturbating in his workplace where he holds an Executive position. Brandon’s addiction is initially his lifestyle. Just like any other addiction, he is subconsciously engaging with sex in any way he can. The film documents the downward spiral Brandon experiences as his lifestyle begins to fall apart with the arrival of his self-harming sister, Sissy (Carey Mulligan) who stays at Brandon’s apartment as she has a few gigs as a lounge singer in the City. Sissy is openly lonely and upset, longing to bridge the broken relationship with her brother who has deluded himself into believing that he is not alone because he is constantly engaging with sex in some way or other. It is the slow-burning realisation that he is alone and that he is incapable of forming “real” connections that make way for Brandon’s downfall. The film earned an NC-17 rating in the US thanks to its explicit scenes which includes Fassbender appearing full-frontal. In an industry where full female nudity has become normalised, there is still a stigma around showing full male nudity. This role is understandably challenging and uncomfortable but Fassbender gives everything to the film. Brandon is deeply flawed and is looking for the puzzle piece that is missing in his life. Fassbender won a second British Independent FIlm Award for Best Lead Actor for his performance. It’s not the lightest film to watch by any means but it is an unafraid look into a common topic that is taboo in a very realist way.

12 Years a Slave (2013)

The third and (to date) latest collaboration between Fassbender and Steve McQueen is an adaptation of the memoir of the same name by Solomon Northup, a New York-born man who is kidnapped and sold into slavery in Louisiana in 1841. Featuring Chiwetel Ejiofor as Northup, Fassbender portrays plantation owner Edwin Epps, a despicable and inhumane person who takes pleasure in beating and raping the slaves who work for him. Fassbender is truly terrifying as Epps and the performance gives goosebumps due to his unpredictability. The scene in which he demands Northup whip Patsey (Lupita Nyong’o) and then proceeds to violently do so himself to a point where she almost dies is horrific to watch and shows a fearlessness in Fassbender’s performance. He is clearly not afraid to go the extra mile and show Epp’s evilness while keeping complete control of the character. This performance shows a different side to Fassbender’s range that we have not seen before, even in his previous antagonist roles. Epps is a man void of compassion and embodies evil incarnate. Thanks to McQueen realist and relentless direction, Fassbender successfully shows this and really gets under the skin of the character and presents this to the audience in a way that no filmmaker has done before. Everyone in the cast does justice to Northup’s story, especially Ejiofor, Nyongo’o and Fassbender, garnering awards attention for each. Fassbender was nominated for his first Academy Award for Best Actor in a Supporting Role.

Steve Jobs (2015)

My favourite Fassbender performances sees him take on the titular character in this Danny Boyle biopic. Fassbender practically becomes the Apple CEO and co-founder as we follow Job’s life from the launch of the Mac that lead to his firing ending with the launch of the iMac which is seen as his Apple comeback. It is such a subtle masterclass of acting that you forget that you are watching an actor. He perfects the accent, the mannerisms and manages to create a deeply complex character that allows the audience to form their on opinions on the man. Aaron Sorkin’s script is a brilliant foundation that Fassbender takes and adds that extra dimension to the film. It is his command of the screen that constantly grabs the audience’s attention and elevates the film to something more than a biopic. The film also features a strong supporting cast led by Kate Winslet, Seth Rogan and Michael Stuhlbarg but it is Fassbender’s lead turn that will leave a lasting imprint long after the film’s ended. The scene in which Jobs and Steve Wozniak (Rogan) argue whether the former should acknowledge the Apple II team in his speech at both computer launches. Jobs is clearly a highly intelligent man but his stubborness and pride hinders him and makes him appear alien and detached from those around him. Fassbender was deservedly nominated for the whole round of major awards and, in my opinion, I think he should have won because the performance is top tier. However, this was the year that Leonardo DiCaprio won all of the awards for his brilliant turn in The Revenant which made the competition one of very high standards.

It’s clear that Fassbender thrives in an environment where he is given challenging and different material. He clearly is wanting to consistently show more range and depth by starring in different genres and working with varying directors and budgets. He is an actor who wants to challenge topical taboos and portray characters who bring discussions among critics and audiences alike. I know that there are tons of performances I could have included such as his performance as Connor in Fish Tank, Magneto in the rebooted X-Men franchise and the titular role in Frank but each of the films I listed are the real standouts in terms of him pushing his range and his charaterisations. I look forward to seeing him in Waititi’s new film and what roles he takes in the future. hopefully this will include a film that sees him sweep the major awards that he is long overdue.

What are your favourite Michael Fassbender performances? Let me know in the comments below!