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London Film Festival 2021: The Power of the Dog

It’s no secret that the COVID-19 pandemic saw the delay of many films which has resulted in a huge amount of quality films being released this year. One such film to suffer from pandemic delays is Jane Campion’s The Power of the Dog which is her first feature film in 12 years since 2009’s Bright Star. Based on the novel of the same name by Thomas Savage, The Power of the Dog follows the lives of two brothers, Phil Burbank (Benedict Cumberbatch) and George Burbank (Jesse Plemons) who own a family ranch and how their lives change when George falls in love with – and quickly marries – Rose (Kirsten Dunst), a widow whose former husband died of suicide. In true Campion style, the film provides deep characterisation, stunning scenery, and a script that is so beautifully written and paced that you feel completely immersed in the film and its time period.

Written and directed by Jane Campion, The Power of the Dog has proven to be a huge hit at festivals and it’s easy to see why. The film feels authentically Western in its slow pacing with her writing and directing giving the film plenty of chance to breathe. The way Campion utilises natural light in her film brings a rawness that allows the landscape to show off its natural beauty without using any filters or techniques. Equally, Campion’s ability to make the audience feel claustrophobic in the open space is so clever such as the scene when Phil and Peter are on their travels through the hills. What is so wonderful about Campion’s filmmaking is that she has such an intricate knowledge of space and how to make use of the space. In one scene, we see George and Rose driving back to the ranch after dropping Peter off at school and they are surrounded by rolling hills which seems to go on for miles; however, what was once an open space is gradually zoomed into George and Rose as they try to dance and it suddenly feels as though the space has become much smaller. Unsurprisingly, the film has brought Campion much acclaim for her directing and she even won the Silver Bear at this year’s Venice Film Festival.

Leading the film is Benedict Cumberbatch as Phil Burbank in what is arguably his best performance to date. To say that Phil is a deeply complex character is an understatement. He is a character plagued by his past as he constantly refers to his late mentor – and lover – Bronco Henry, who has since passed away. The result of which is a character that internalises who he is and replaces it with toxic masculinity, feigning power and confidence through brutality and strength. Phil’s leadership and charisma is hard to miss as he makes his presence known no matter where he is. Cumberbatch is captivating in a role that may seem mismatched at first but his dedication and relentlessness allows us to him in an entirely new light. He has become a firm favourite for the Best Actor awards this coming awards season and it is easy to see why. Even if he doesn’t win, he will definitely earn nominations in what is a performance of a lifetime.

Playing Phil’s brother, George, is Jesse Plemons and the two characters couldn’t be more different. Where Phil is overly observant to a fault, George is oblivious although his heart is in the right place. Unable to see his wife suffering or catering to her needs, George tries to force her into a societal position that she doesn’t feel comfortable with. This isn’t out of malice or bullying but because he does what he believes is expected of him. Plemons is always great no matter what role he does and it’s a treat to see him in a bigger role. The scene where George confronts Phil about the latter’s treatment of Rose is ridiculously intense and this is because Plemons and Cumberbatch manage to bring an authenticity to their roles that feels genuine and brotherly. Kirsten Dunst plays Rose, a woman who recently lost her husband to suicide and is struggling to run the family restaurant. She marries George shortly after meeting him but soon finds that her brother-in-law, Phil, does not approve of their marriage, believing her to be a gold digger. Dunst is one of a few women in the film but her presence is duly noted and she commands each scene she is in, especially as her character delves into alcoholism. The lack of female roles is completely on purpose as the film is showing what happens when an environment is dominated by men and, specifically, toxic masculinity. Rose’s background is completely different to Phil’s entirely and it is these differences that cause friction between them. The scene in which Rose practices on the piano and eventually finds herself in competition with Phil’s banjo playing is somehow terrifying and comedic at the same time. Dunst’s performance in this scene is brilliant as we feel the fear in the character and her emotional struggle as she cannot finish her piece.

Another performance in this film that has been receiving a lot of attention is Kodi Smit-McPhee’s turn as Rose’s son, Peter. The first time we see Peter, he is delicately cutting pieces of paper which are then shaped to make paper flowers which he then takes to his father’s grave. From his sensitive nature to his crisp and neat appearance, it is clear that there is something that sets Peter apart from the other men in the area. This is pointed out during his first encounter with Phil and the rest of the ranchers as Phil makes fun of Peter’s flowers and the way he dresses and carries himself. Assuming that he is homosexual, Phil and the other men hurl homophobic insults at Peter wherever he goes and bully him relentlessly; however, Peter appears indifferent to their insults and carries on with his research to become a medical doctor. Smit-McPhee’s performance is the perfect opposition to Phil. Where Cumberbatch’s performance is loud and commanding, Smit-McPhee’s is much quiet and subtle while still grabbing the audience’s attention. The climactic scene between Phil and Peter in the barn is incredibly intense and has the audience at the edge of their seat and this is due to Cumberbatch and Smit-McPhee’s flawless chemistry.

One of the many highlights in this film is the beautiful score which is composed by Johnny Greenwood. What makes Greenwood one of the best composers working today is the huge range of films that he has worked on. Whether it is a period drama such as The Master or a thriller such as You Were Never Really Here, Greenwood always knocks it out off the park. He has delved into the Western genre before with his game-changing score for There Will Be Blood and yet somehow, he manages to create a completely new and different sound for the music in this film. Featuring hints of Western and thriller, Greenwood integrates his signature sounds with atmospheric tones that work seamlessly with the film. The music never overwhelms the film itself and yet manages to stand out and elevate the mood of the scene. Hopefully we will see Greenwood receive another Academy Award nomination for his work and maybe even a win.

The Power of the Dog was a film worth waiting for and more. Hopefully, it will see a lot of recognition come awards season thanks to the breath-taking direction, stellar script and impeccable performances, especially by Cumberbatch. Campion has come back with a bang and here’s hoping she doesn’t wait as long before making her next feature.

The Power of the Dog is showing at this year’s London Film Festival!

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London Film Festival 2021: The Harder They Fall

When it comes to showing a film at a festival, there are few honours more impressive than being the opening night selection for the entire festival. The honour at this year’s London Film Festival goes to Jeymes Samuel’s feature film debut, The Harder They Fall which chronicles a fictional story about real black cowboys in the Old West. In a genre that has been majorly dominated by white men, Samuel flips the script entirely with an all-black cast and delivers a film that is stylish and captivating. Boasting an incredible cast that includes Jonathan Majors, Idris Elba, and Regina King among many more, The Harder They Fall shows that there is no slowing down the modern Western trend while also marking Samuel’s exceptional debut and talent as a visionary. The film follows cowboy Nat Love (Majors) and his gang as they embark on a mission of revenge against the cruel Rufus Buck (Elba) who killed the former’s parents when he was younger, leaving Love with a scar of a cross on his forehead. What entails is a game of power between the two gangs in a bid to maintain control.

The film is directed by Samuel who cowrote the script with Boaz Yakin and the result is a film that follows a classic Western plot but this is in no means an insult. The plot’s simplicity allows more time for the characters to shine and gives them ample material to play with and become well-developed. Both gangs are filled with memorable characters which can seem overwhelming at times as you don’t know where to look during fight scenes but the chaos that ensues between the gangs and the individual tensions that arise between the members are an absolute thrill to watch. Samuel can only be described as a visionary when it comes to his method of storytelling. The way he combines the tight writing with music and beautiful direction results is on par with some filmmakers who have been working for decade. He clearly is someone who loves film and has a passion for the subject and the characters.

Leading the Nat Love Gang is Majors who plays Love and his partner, Mary (Zazie Beetz). The great thing about this film is that the line between good and bad becomes blurred so even though they lead a life of crime by stealing from outlaws, they have good intentions to serve the community and don’t mistreat anyone who is innocent. Majors’ performance is absolutely magnetic and he leads the film with ease. Love’s quest for revenge is perfectly set up as we see the tragic story play out from his childhood to help us understand his plight better. Love is an incredibly charismatic character who knows how to command a situation and Majors is perfect casting. Playing his love interest, Mary, is Zazie Beetz and the two share a brilliant chemistry together as the dynamic between the shifts and changes. What is great about the female characters in this film is that they don’t rely on a man as they have agency and strength and Beetz has become well-known for her feminist roles which makes her ideal for a character like Mary.

On the other side of the coin is the Rufus Buck Gang led by Buck (Elba) and Trudy (King). Their dynamic is similar to Nat and Mary’s as they are loyal to each other while also enabling each other’s independence. Elba’s role is one of the best in his career as he brings a darkness to the role of Buck that is very unexpected. Buck’s character is one that could be played over the top but Elba’s calm demeanour results in a performance that commands the audience’s attention every time he is on screen. Quiet and calculating, Buck is careful with his words and clearly intelligent and always thinking ahead. It’s also clear that Elba is having a lot of fun with the character and it wouldn’t be surprising if he were to receive some awards attention in the supporting categories come awards season. Playing Buck’s partner in crime, Trudy, is Oscar winner Regina King whose performance is terrifying and probably the most violent out of everyone in the film. Unapologetically tough, King’s ability to tell a story through expression works incredibly well as Trudy. The scene in which we are first introduced to Trudy as she and the rest of the Rufus Buck Gang break Buck out of his cell on a train is among the best in the film. Simply watching Trudy force the train to the stop by fearlessly stopping her horse over the track is both terrifying and leaves you on the end of your seat.

There are so many fantastic support performances that it feels unfair to only discuss a couple but the highlights from the supporting cast have to be Lakeith Stanfield as Cherokee Bill and Delroy Lindo as Bass Reeves. Oscar nominee Stanfield is on form as the unpredictable Bill, a man who gained a reputation for his fast shooting speed. In true Stanfield fashion, his performance is subtle which works well as it provides a sinister undertone and fearlessness to the character that makes every move he makes unsettling to the viewer. On the other hand, Delroy Lindo can always be relied upon to give a fantastic performance and his turn as Deputy Marshall Bass Reeves is no exception. Reeves acts as the voice of reason and has the strongest moral compass of all the characters, despite his clear affiliation with a wanted man; however, Lindo portrays Reeves as a man with dignity who knows that he is doing the right thing. In a film that is littered with stars, it’s just a shame that we don’t see more of Reeves throughout.

It would be impossible to review this film and not discuss the music and score. Samuel’s background is in music and he puts this to use by contributing remixes and the score himself. The result of which is absolutely stunning as he merges classic Western sounds with RnB to create a sound that is completely unique but fits in with the film perfectly. In many ways, the music is just as integral to the plot as the visual is. Mixing a variety of genres such as RnB, rap, and Church music to name a few, the score helps with the pacing of the film and works brilliantly, especially in scenes such as the train scene in which Buck’s gang breaks him out.

Overall, The Harder They Fall is a strong opener for the London Film Festival with one of the strongest casts in a film this year and marking a fantastic debut for Samuel. As we have seen a huge increase in Westerns being made in recent years, Samuel shows that there is plenty of room for his vision and executes it brilliantly. It’s hard to believe that this is his first feature film and hopefully promises to be the start of a great career as a filmmaker and writer.

The Harder They Fall is available to watch on Netflix from November 3rd 2021!

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Quentin Tarantino: Film Ranking

If you asked a group of people for their favourite living filmmaker, there is a strong chance that a large percentage of them will say the name: Quentin Tarantino. One of the greatest and most original minds to come out of the film industry in the history of film, Tarantino practically defined 90s cinema with his look into the gangster underworld of Los Angeles. His films are known for their strong use of language, gratuitous violence and the iconic writing style that Tarantino brings to his dialogue. The owner of two Best Original Screenplay Oscars (for Pulp Fiction and Django Unchained), he has yet to win a Best Director gong. With the release of this year’s Once Upon a Time in Hollywood, could this be another successful awards season for Tarantino?

Tarantino had always stated that he intended to make 10 features. Counting Kill Bill as one, Once Upon a Time in Hollywood would be his ninth and, therefore, penultimate picture. I thought it would be a great celebration of his work to revisit his films old and new and see how I would stack them up when compared to each other.

Here are the reviews for the films of Quentin Tarantino:

Reservoir Dogs (1992)

Possibly one of the most (if not the most) iconic debuts ever to be delivered by a filmmaker, Reservoir Dogs follows a group of men who are given colour code names such as Mr. Orange and Mr. Brown and their attempt to carry out a diamond heist. A pretty simple plot but the genius of the film comes from Tarantino’s decision to not show the heist itself. What we are presented with is the run-up to the heist and it’s consequences when it goes wrong. Featuring a brilliant cast including Harvey Keitel, Michael Madsen and Tim Roth. My favourite performance comes from Steve Buscemi who plays the fearfully paranoid Mr. Pink. Among the men, Pink is clearly the outsider from the beginning when he refuses to give the waitress a tip. The script may seem simple but it is anything but. There is a rhythm and style that would come to define a Tarantino feature such as extensive allegories and numerous pop culture references. The soundtrack for this film has also become somewhat of a legend in its own right and has become a reference point for a lot of modern filmmakers. Tarantino himself claims that this film is the closest to being a “perfect” film which although I see the argument for, I would say that he has managed to make even better films. It would be a shame to think that his first film was his best.

Pulp Fiction (1994)

If you had to say one film that defines the 1990s, I think the majority of people would say Pulp Fiction. From the iconic poster design, extreme violence and brilliant dialogue, Pulp Fiction catapulted Tarantino to the top of the A list, winning him the Palme d’Or at Cannes Film Festival as well as an Academy Award for Best Original Screenplay. Starring John Travolta and Samuel L. Jackson as suave hitmen Vincent Vega and Jules Winnifield who work for drug lord Marsellus Wallace (Ving Rhames) and his cocaine-addicted wife, Mia (Uma Thurman in her most recognisable role). Pulp Fiction is bigger and better than its predecessor with an even more starry cast, bigger budget and killer direction. Even 25 years on, it is still commonly referenced for its costumes and standout scenes such as Jules’ biblical recitation before blowing the brains out of a man who attempted to double-cross Wallace. It is undoubtedly Jackson who is the shining star of this gangster masterpiece as he brings his trademark attitude. You know you did a great job when the person who beat you to the Oscar says that you should have won. There’s a reason why Pulp Fiction marked the start of the iconic collaborations between Tarantino and Jackson. Their love of action, violence and strong language makes the perfect pairing. Besides every time Jackson is onscreen, my favourite scene is Christopher Walken’s iconic monologue as Captain Koons, an Army veteran who survived the war and is gifting his son, Butch (Chandler Lindauer and Brue Willis playing the younger and older versions, respectively) his prized watch. Only Walken could deliver the monologue with the sincerity and conviction that his does.

Jackie Brown (1997)

Jackie Brown is one of those films that finds itself among the top of people’s favourite Tarantino films or worst. Sadly, it is among the bottom of my list but not because it is a bad film by any means. It is simply because of its nature as an adaptation. When I watch a Tarantino, I want to see the usual quirks in the dialogue which I think isn’t there as much as other films. Following Pam Grier as the titular air stewardess who becomes embroiled in a smuggling scandal, Tarantino relies on a great cast to carry out this complex web and pulls it off which include Samuel L. Jackson with a fantastic haircut. Known for her starring roles in Blaxploitation flicks, Grier herself is amazing and had such a powerful presence onscreen. She doesn’t just give a great performances, she becomes Jackie. It’s one of my favourite performances in the Tarantino catalogue but I just feel that there are elements such as the odd pacing that let the film as a whole down. It would be nice to see Tarantino reunite with Grier on a new project, perhaps his 10th (and supposedly last) feature. The film is grounded in reality a bit more than the others and I think the fact that any director could have made this film is why it ranks low. When I watch a Tarantino film, I want it to be distinctively Tarantino but I don’t get that from this film and as previously stated, I think that comes from the fact that it is an adaptation. The man thrives from his originality and it’s what the audience loves.

Kill Bill: Volume 1 (2003)

I remember watching Kill Bill for the first time and being blown away by the strength of the protagonist. The film follows the vengeful ex-assassin The Bride who seeks revenge on her former colleagues when they kill her wedding rehearsal party on the orders of Bill, the man who runs the group. Kill Bill is intended to be watched as one film but due to running length was divided into two volumes. The first volume is seen as the Eastern installment as The Bride ventures to Japan to face the first assassin O-Ren Oshii (Lucy Liu). There are so many reasons why my love for this film is unequivocal such as the clear appreciation for Japanese cinema and culture, the amazing use of animation within the film and most of all, the wide abundance of fleshed out female characters. This film is known for its extreme violence and high body count but don’t let this put you off. Playing the woman who lost everything, including her unborn baby, Thurman’s performance is undeniably ruthless, unapologetic and emotionally charged to the max. Even though she seems unbreakable and unemotional on the surface but you sense her pain underneath the surface from the opening scene with Vernita Green (Vivica A. Fox). Tarantino uses various elements such as sound mixing and colour giving the film its flamboyance and elevating it beyond realism and into fantasy.

Kill Bill: Volume 2 (2004)

Following on from Vol 1, Kill Bill: Vol 2 takes us back to America where the Bride has the second half of her list left to kill in the form of Bill’s failure of a brother, Budd (Michael Madsen), the merciless Elle Driver (Daryl Hannah) and Bill himself (David Carradine). This installment has a larger focus on the Bride’s background before the massacre took place and her journey to becoming an assassin. I love how both films have become a genre of their own. The body count may be a fraction of its predecessor but it still includes some of the most terrifying scenes in film (insert buried alive segment here) and is captivating in its own way. We see the Bride’s emotional journey and her guard slips as she makes some unexpected discoveries in her quest for blood. I think that together, Kill Bill makes for a fantastic saga and would definitely be among my favourite films of the 21st century so far.

Death Proof (2007)

I know there are some people that wouldn’t put Death Proof in the list due to it being part of a two-part feature titled Grindhouse with fellow director and friend, Robert Rodriguez directing Planet Terror (2007). Death Proof is a Texan action led by Kurt Russell as a stuntman who murders women with his car. The film is split into two parts with one group of women’s fates determined the first half and another group in the second half. Death Proof is often viewed as Tarantino’s worst and it is but it’s not a bad film. It is entertaining and Russell is brilliant as the killer in the “death-proof” car. It’s not as complex as other Tarantino films and doesn’t perhaps have the gumption or wow factor that the others have. That being said, for what it wants to be, it delivers in spades. The soundtrack is great and Rose McGowan and Mary Elizabeth Winstead are great in their roles as Pam and Lee, respectively. It’s pretty great that Tarantino and Rodriguez cast McGowan in a leading role in both films to spite Harvey Weinstein for what he did to her. McGowan shines in both films and it would be great to see her make a return to films in roles as amazing as the Grindhouse duo.

Inglourious Basterds (2009)

The first Tarantino film I watched and boy was it a great pick. Undoubtedly one of the best opening scenes in film history, Tarantino manages to create tension with a glass of milk. The film is a reimagining of Nazi-occupied France during the war with Brad Pitt playing Aldo Raine who leads a group of men known as “The Basterds” who are set on killing Nazis and collecting their scalps. Inglourious Basterds also includes what I would argue is Tarantino’s best character today in the erringly charismatic SS Officer, Hans Landa. Played spectacularly by Christoph Waltz in a role that would see him in his Hollywood breakthrough and take home every Supporting Actor Award including the Cannes Film Festival, BAFTA and the Academy Award. Landa is a character who commands your attention. He’s despicable and manipulative, the sociopathic changes are intriguing to watch such as him loving his nickname “Jew Hunter” in the opening scene when intimidating a local farmer, to despising the name when realising that the Nazis are set on losing the war. His motives and outlook can never be understood because he is such a whirlwind character. He seems to take his job seriously one moment then not at all the next and flits the fate of others with ease, not finding it difficult to kill if he sees fit. I don’t think there’s a character that has unsettled a global audience as much as Hans Landa has and yet you long for him to be on the screen because the character is so engaging. Tarantino’s screenwriting is possibly his best, which he clearly knows from the final frame when Aldo looks into the camera and says “this might be my masterpiece”.

Django Unchained (2012)

Bringing his love for spaghetti westerns to the frontline for this Civil War epic, Tarantino’s 3 hour Django Unchained follows Jamie Foxx as the titular character and his quest to find his wife Broomhilda (Kerry Washington) in the Deep South were slavery is very much a thriving business. With the help of bounty hunter Dr King Schultz (Christoph Waltz), Django’s adventure sees Tarantino using an endless amount of fake blood and a controversial multitude of n-words throughout which faced criticism from individuals such as Spike Lee. I do think this is a film plagued with indulgence and excess in its violence, language and numerous endings but it does have very strong points. The cast are perfect in their roles particularly Christoph Waltz as Schultz and Leonardo DiCaprio as plantation owner Calvin Candie. Waltz is charismatic and charming as a man set on freeing slaves and hunting killers and would go on to win a second Best Supporting Actor gong although I personally think his role is a lead not supporting performance. DiCaprio’s performance on the other side is chilling and captivating as he relishes in torturing the slaves.

The Hateful Eight (2015)

Concluding the western trilogy in Tarantino’s catalogue, we venture to Wyoming in the aftermath of the Civil War. There’s a heavy blizzard and eight murderous brutes are trapped in Minnie’s Haberdashery including the honourable John “The Hangman” Ruth (Kurt Russell), country hunter Major Marquis Warren (Samuel L. Jackson) and a career-best from Jennifer Jason Leigh as the disgustingly brilliant Daisy Domergue who John is bringing to Red Rock to hang. Like all Tarantino films, this one is also a mash-up of genres. It is primarily western but is also murder mystery, comedy and thriller. The film’s composer, Ennio Morricone stated that he wrote the score for a horror film which would end up being the film’s strongest point and leading to Morricone’s long-awaited Oscar. It’s a truly brilliant soundtrack and elevates the rhythm of the dialogue which is so important in the moments of extreme tension. Tarantino’s writing is tight and every character has been fleshed out, admittedly some more than others, but each one is memorable in their own way. It’s an interesting inclusion and the film shows a maturity in Tarantino’s filmmaking. There is violence, granted, as expected but Tarantino is more focused on his script and positioning of characters than the actual violence.

Once Upon a Time in Hollywood (2019)

I have already written an extensive review on this one (which you can read here) so I won’t go into too much detail. What I will say is that it has a very good chance of scoring some nominations and potential wins going into awards season. It’s nice seeing Tarantino returning to California for his penultimate film and it seems like a film that he was destined to make. The personal touches are definitely here in what seems to be a return to the place where he grew up.

So we’re all up to date and I eagerly await to see what Tarantino has up his sleeve for his tenth and supposed final feature. Undoubtedly, it will be one of the biggest events in film history with actors and crew members alike clambering at the chance to work with him. There’s only one Tarantino and there certainly won’t be another director like him again.

With all that said and done, here is my final ranking:

1) Kill Bill: Volume 1 (2003)

2) Inglourious Basterds (2009)

3) Reservoir Dogs (1992)

4) Pulp Fiction (1994)

5) Kill Bill: Volume 2 (2004)

6) Once Upon a Time in Hollywood (2019)

7) The Hateful Eight (2015)

8) Django Unchained (2012)

9) Jackie Brown (1997)

10) Death Proof (2007)

I know it’s probably shocking having Kill Bill: Volume 1 at the top, but there is something incredibly empowering to me seeing a female character leading a blockbuster four hour saga. I hope people refer back to this when people claim that audiences don’t want to see women in film.

Which Tarantino is your favourite? Let me know in the comments below!