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Malcolm and Marie (2021)

One of the most hyped films to be filmed and released made in lockdown, Malcolm and Marie is a minimalist exploration of one couple’s relationship as they descend into an evening of real time arguments.

This Netflix film stars John David Washington and Zendaya as the titular characters and starts with the couple returning home after Malcolm’s film premiere. It soon emerges that he has forgotten to thank Marie in his speech and the night transitions from one argument to the next spanning conversations on their relationship their backstory and the film industry as a whole. Written and directed by Euphoria creator Sam Levinson, Malcolm and Marie has become a huge topic of discussion thanks to the polarising opinions shared by critics and audiences alike with some people loving the film and others disliking it.

One of the most controversial factors that has been discussed and debated is the script. Some people have claimed that Levinson uses the actors as a mouthpiece for his own opinions on the film industry. I am not sure whether I agree with this sentiment or not but I do find the script overwritten at times. As the film plays out in real time and brings a minimalistic and realistic approach to the portrayal of the relationship, the script feels disingenuous at times. There comes a point where it feels as though the monologues become soliloquy as the characters seem to ramble off on tangents that completely detract from the focus of the film. Even if this is the intent, it does feel unnecessary and it’s important to bear in mind that writing for the screen is a different medium to real life conversations so making sure you edit the conversations will make everything tighter and more cohesive.

Levinson’s direction makes good use of the limited location space. Solely taking place in the house and grounds, we get to know the space and feel the claustrophobia that Marie, in particular, feels at the hands of Malcolm. Despite the limited resources due to the pandemic, Lenvinson becomes creative with his shots and way of filming and creates a film that has a lot of aesthetic intuition and beauty. When you consider the conditions in which the film was made and the restrictions enforced meaning a smaller crew and limited space, it’s a big achievement that Levinson manages to create an visual impact. The choice to shoot in black and white was also a smart choice as it makes the space feel separated from reality.

Zendaya is great as Marie and proves that she can really shine on the big screen as well as the small screen. After her Emmy-winning turn in Levinson’s Euphoria, it makes sense that the two would collaborate. Marie is not afraid to call out Malcolm for his destructive and abusive behaviour, questioning whether his filmmaking would be as good if she wasn’t in his life. As the film goes on, we begin to see just how much Marie brings to Malcolm’s life. With her words, she breaks down everything Malcolm is to the point where every word and action he has made and is able to assert herself when Malcolm tries to dismiss her as nothing more than another person in his life.

Upcoming star John David Washington stars as Malcolm in a role that feels a bit wasted of Washington’s talents. It feels as though all the energy was put into Marie and her development whereas Malcolm’s character doesn’t feel as elevated or explored to the same extent. I think that a lot of my issues with the script lie with Malcolm’s monologues more than Marie’s because his point of view is littered with exposition. I understand that with the limited location and filming resource that backstory has to be shown through the dialogue but Malcolm is a character that feels a bit too over the top. It gets to the point where he becomes a caricature and it’s easy to switch off when he is taking because he rambles on. Washington does the best with the script but unfortunately the character doesn’t grab your attention in the way that Marie does.

The music by Labrinth is beautiful with hints of Jazz and RnB. Following his Emmy-winning music for Levinson’s Euphoria, his distinct and brilliant sound that fits in perfectly and becomes synonymous with the aesthetic of the film. Just as the house is full of character, so is the music. Perfectly blending different genres to show the clash between the protagonists’ points of view, the score and soundtrack is unique and keeps the film running smoothly even when the script becomes overbearing at times.

Overall, Malcolm and Marie deserves credit for its innovative filmmaking and achieves a lot despite the limited resources, cast and crew. With only two characters in the whole film, Levinson manages to make this minimalist film look visually stunning and delves into their characters in such a way that is rarely done. The writing is it’s weakest area but the scenes in which the dialogue is tight, the actors are able to really shine, especially Zendaya who is phenomenal and proves herself to be one of the new Hollywood leading ladies for a reason. Malcolm and Marie is worth a watch for its interesting approach as well as its incredible soundtrack.

What did you think of Malcolm and Marie? Let me know in the comments below!

Malcolm and Marie is available to watch on Netflix now!

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The Dig (2021)

As awards season lingers on the horizon, more and more films are being released with the hopes that they will be successful come trophy time. One such film that has snuck onto the scene and made a big impact is Simon Stone’s period drama The Dig. Based on the 2007 novel of the same name by John Preston with a script written by Moira Buffini, The Dig follows the 1939 excavation at Sutton Hoo which is often regarded as one of the most significant excavations in history. Taking place on land owned by Edith Pretty (Carey Mulligan) and with a team led by archaeologist Basil Brown (Ralph Fiennes), the discovery of an Anglo-Saxon ship filled with gold and other precious items brings hope to the community contrasting with the context that Britain will soon be at war.

Stone’s direction is beautiful and poetic, making the most of the natural landscape that encapsulates the film. Immersing itself in the surrounding countryside, we never really leave the estate grounds with the exception of Pretty visiting a doctor in the city and Brown going home. Just as the group’s obsession with their findings begins to physically and emotionally change the land, the audience becomes equally familiarised as we see the progression of their work. Stone isn’t interested in the actual treasures found but the people who find them and how they are changed by their experience.

The script written by Moira Buffini takes a while to find its feet but once it is grounded, it begins to flow nicely. The first 20 minutes see a lot of seemingly significant events that lead up to the initial discovery of the ship without really getting to know the characters. However, it is actually through excavating the ship that we see the characters challenged and tested beyond their capabilities. There has been some controversy regarding the portrayal of the female characters which is worth noting. At the time of the film’s events, Edith Pretty was around 56 years old whereas Mulligan is two decades younger. However, I am glad that they didn’t attempt to make her look older through make up as that would have been too distracting. The main issue is with the characterisation of archaeologist Peggy Piggott (Lily James). Piggott is portrayed as clumsy and aloof with no real expertise of archeology, however, she was a respected member of the archeology community at the time of the film’s events. I am not sure why the decision was made to make Peggy like this or why a fictional love affair was written in but it would have been better if Buffini had stuck to a more factual portrayal.

Ralph Fiennes is fantastic as excavater Basil Brown. A quiet and observant man, Brown is clearly passionate about his work and although he does fight for better pay, it is clear that he does not request a huge financial reward for his findings. As can be expected, Fiennes is brilliant and the film is lifted on his shoulders. His performance stops the film from becoming generic and boring as his character is the audience’s way in to this world of affluence and exclusivity. Whereas the curators who work in the museums only care about the treasure and getting the credit and profit, Brown wants to ensure the integrity of the excavation process itself. Coming from humble beginnings and trained by his own father, archeology and excavation is something that Brown had an incredible affinity for. Even though Fiennes isn’t onscreen a lot of the time, especially in the second half of the film, his presence is always felt because of the influence he had over finding the ship.

It’s clear that this is Carey Mulligan’s time to really shine as she delivers a wonderful performance as Edith Pretty. Although Pretty was two decades Mulligan’s senior at the time of the film’s events, Mulligan makes the most of the role and really shows Pretty’s struggle in a way that feels completely believable. Within moments, you forget about the age indiscrepancy. Through the duration of the film, it becomes clear that Pretty is suffering from an unknown illness that can cause issues with her heart should she find herself in overwhelmingly stressful situations. As the excavation begins to unearth the treasures in the land, Pretty’s illness becomes more severe and debilitating as though she is part of the land herself. I would have loved to have seen even more scenes with Pretty in her role as a landowner and the pressures she faced from the museum curators but Mulligan still pulls it off. Naturally she is garnering more attention for Promising Young Woman which is by far her standout performance and career best but her turn in The Dig is not one to be missed.

The score by Stefan Gregory is impeccable and provides a beautiful and classic backdrop to the film. Not overshadowing the onscreen activity, the score is subtle and quiet but once you notice it, you can’t help but pay completely attention to it. Simple and peaceful, the score captures the serenity that the countryside brings despite the war that is looming in the distance. The final scene in which we see Brown and his team filling the mound feels more prominent thanks to the reflective music that highlights the trials and tribulations of the excavation.

Filled with a flurry of familiar faces of the big and small screens, The Dig takes on a lot of storylines which can be overwhelming at times but the beautiful direction and incredible performances, particularly by Fiennes, keeps you drawn in. With beautiful production and costume design, The Dig may appear as generic on the surface but you simply have to look a little deeper to really find the beauty in the characterisation and production beyond the script. Stone clearly has an affinity for creating films in a natural environment that feel huge in scope so it will be exciting to see what he does next.

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

The Dig is available to watch on Netflix now!

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Saint Maud (2020)

If there was one film I was looking forward to seeing in 2020, it was Saint Maud. Thanks to the global pandemic, it was one of the many films that was delayed and just under a year later, I finally have been able to see it. Directed and written by Rose Glass in her feature debut, Saint Maud follows palliative care nurse, Maud (Morfydd Clark) who is sent to care for former dancer, Amanda (Jennifer Ehle). Maud is a recent Christian convert and is very influenced by God and will do anything to carry out his will, even if it comes at the cost of her sanity and the lives of those around her. It falls into the psychological horror category and a lot of the tension in the film is carried by the strong direction and Clark’s incredible leading performance.

Rose Glass has entered the film industry with a massive splash. Saint Maud marks her feature debut and she delivers in spades. Her directorial vision is so distinct as it mixes traditional shots of suspense with some tributes to classic religion horrors such as The Exorcist while also bringing in a freshness that feels like a breath of fresh air. Bringing an intense horror to a quiet English coastal town, this film feels ground in a real working class reality in the world around Maud whereas Maud clearly doesn’t fit in. Seen entirely through Maud’s perspective as she is in every scene, it’s clear that Maud doesn’t belong but the reason why is unclear. The script is a beautiful slow burner that is paced fantastically whilst still containing a lot for an 84 minute film. Glass makes the most of every second and it is definitely one of the best horrors I have seen in a whole. It’s fantastic to see how women are regaining control of the horror genre and the pay off is brilliant.

Welsh actress, Morfydd Clark is an absolute revelation as palliative care nurse, Maud. Maud is clearly an extremely tense and troubled individual who is trying to make sense of her purpose in the world. A recent convert to Christianity, she looks to God at every point in her life and rather than just verbal words, she feels God’s presence physical. As expected of “body horror” films like The Exorcist, Clark gives her all physically and emotionally without allowing the energy to die down. We feel the tension rising and rising as Maud has pain inflicted on her as well as bodily harm as she believes she must suffer to be with God. Maud is so invested in her religion that she is not even living her own life anymore. From the first moment she is on the screen, we feel that tension and intensity from her. Clark perfectly embodies Maud and shows her struggles perfectly, holding the film on her shoulders in a superb breakout performance. Rather than play the role as a horror lead, she performs as a dramatic lead instead which works perfectly to build up the conflict and horror that is brewing through the film.

In support, Jennifer Ehle is incredible as dying creative Amanda. A former dancer who has fallen ill to stage four lymphoma, Amanda is the polar opposite to uptight Maud. Arguably and ironically full of more life than Maud, Amanda aims to live her last days to the fullest, indulging in alcohol, parties and lots of sex. Maud is both intrigued and appalled by Amanda’s actions and strives to save her soul in time before she dies. Ehle is a fantastic who is often wasted or not given enough screentime in most films she stars in but Saint Maud elevates her to a hugely significant supporting character. Amanda’s free nature is unsettling as we struggle to know what she really thinks. Even as Amanda’s health decays, Ehle gives the character that depth and life as Amanda fights her illness. Even as she succumbs to the end, she has that freedom that Maud simply cannot restrain.

The score is phenomenal and immediately brings in the horror aspects of the film. Whereas the performances feel more dramatic, the music dictates the tone and elevates the tension in the film. Composed by Adam Janota Bzowski, the score is atmospheric, beautiful and hugely impactful. The film overall doesn’t have a lot of bells and whistles that many other psychological horrors have but Bzowski’s score is almost an effect in itself. The heavy electronic sounds filled with bass add to the film’s unsettling nature. Even in moments that seem more relaxed, the score refuses to rest and its relentlessness adds so much to the film as a whole. I am extremely excited to see what Bzowski has in store for the future and hope he continues to score films.

Saint Maud is a film that was definitely worth the wait. From the first shot, it is captivating and you can’t draw your attention away. The intricate amount of detail in every movement and props shows the amount of care that has been made in the writing. This marks the fantastic start for Rose Glass and Morfydd Clark as well as providing Jennifer Ehle a chance to really show off her range. For those who claim that horror is a man’s genre, I implore you to check Saint Maud out and guarantee that you will be pleasantly surprised. A film that I already want to watch again and again and again.

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

Saint Maud is released in the UK on Monday 1st February.

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Away (2019)

One of the most original and unique animated films of recent times, Away is a silent film that wears its heart on its sleeve. Following a young boy who lands in unknown territory, he finds a motorbike and a bird and searches for safety as he is chased by a large shadowy monster that seeks to kill him. Written, directed and scored by Latvian filmmaker, Gints Zilbalodis, Away is an incredible achievement for him, especially considering that he also animated the entire film by himself. The computer animation is unlike anything I have ever seen before and found myself really appreciating the style and in love with the contrast between the living creatures and the natural world and how the two coincide.

Away is a clearly labour of love for Zilbalodis who has created an incredible feature debut all by himself. Although the plot itself is fairly minimal, it does make for an interesting character study. We don’t know who this boy is and how he got there and yet, we understand his plight and the connection he develops with the bird. In its tone and silence, it is easy to make comparisons with animated films of late such as Studio Ghibli’s The Red Turtle as that also has some of the same qualities. Be aware though that Away is its own film and like the films of Studio Ghibli, is invested in its own universe and lore despite its similarities. Thanks to the lack of storytelling, the message from Away is up to interpretation whether you take it literally or metaphorical, it is a film that is designed to gauge a reaction from its audience.

The style of computer animation is incredibly minimalistic and marks a welcome change from a landscape where animated films go overboard to provide every single fibre and texture that can be overwhelming at times. Where the animation Away really thrived is in its natural backdrops, particularly the mountain areas and valleys. Enough detail to distinguish the shading and implied distance yet following a particular colour scheme so the film looks consistent and maintains it’s uniqueness. The design of the shadowy monster definitely has tinges of Ghibli, specifically the Forest Spirit when it transforms into the Nightwalker in Princess Mononoke. The idea of this huge shadowy presence that kills the life it touches can be interpreted in so many different ways. What I also found particularly interesting is how the design of the monster doesn’t have any distinguishing features over than its basic shape and colour and yet still remains a powerful presence when onscreen.

The music by Zilbalodis is used during the majority of the film, although there are some scenes of silence. The score contains a lot of large, open pieces that reflect the beautiful landscapes where the boy finds himself. The piece that plays as he rides across a watery surface underneath the sunny sky is particularly good as it captures that whimsicalness and mystery that the film conveys. The film may not have any dialogue but Zilbalodis does a great job of bringing the words to life through the score.

Overall, Away marks a wonderfully gripping feature debut that thrives in its minimalism. Zilbalodis is a filmmaker to watch out for and it’s exciting to see where his career will take him next. It would be great to see him work on a project for somewhere like Studio Ghibli in the future and see his style develop even further. If this is what he can achieve by himself then imagine what he can do with an entire team behind him!

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

AWAY is out now on Apple TV,  iTunes,  Sky Store, Amazon, Google, Microsoft,  Rakuten, Sony and Curzon Home Cinema.

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Promising Young Woman (2020)

One of my most anticipated films of 2020 that was delayed due to the pandemic was Promising Young Woman. Directed and written by Emerald Fennell in her directorial debut and starring Carey Mulligan as Cassie, a woman who pretends to be intoxicated and then confronts the men who try to take advantage of her. Proving to be one of the best original films to come into the 2021 awards season, this is a shining moment for Mulligan and Fennell, putting films made by and starring women at the forefront. In a year that has seen Nomadland and First Cow be recognised among the Best Picture categories at various festivals, there has been a real breakthrough in mainstream frontrunners that are made by women. This could be a year that sees more than one woman nominated for Best Director.

Reading the initial plot and seeing the trailer is enough to cause a lot of hype and controversy because of the subject matter. However, this is a necessary film during a time where women are often ignored or not believed and are left feeling like they are the guilty party. Surprisingly, what stands out about Promising Young Woman is that it is truly made from the female gaze perspective and Fennell’s direction is hugely impressive. Her distinct and aggressive vision works so well when building up the moments of tension as we try to figure out what is going on in Cassie’s mind. This is very much a character driven film in which we dive into Cassie’s psyche and her unpredictability makes this one of the most original thrillers of recent years.

Mulligan brings a career best in her role as Cassie which is incredible considering the calibre of her previous performances. I don’t doubt that she will be receiving many nominations for Best Actress at all of the major awards shows, with many critics saying she should actually win. Mulligan’s range is showcased from the first scene as she transitions from intoxicated and vulnerable to fearless and confrontational. Noting down the names of the men she confronts, Cassie leads a double life albeit unsuccessfully. As her underground mission thrives, her personal and professional life suffers. She turns 30 but lives at her parents with no longterm plan in place. As everything begins to settle with Ryan, Cassie is at an inner conflict with herself and what she should do moving forward. It would have been so easy for many actors to overly do this role but Mulligan has the perfect subtly and restraint needed to provide a performance that is perfectly well-rounded. At the end of it all, Cassie is a flawed individual with a strong motive that has kept her anchored to the past and she’s come to the point where she has to move on with the film chronicling this struggle.

In support, Bo Burnham plays Ryan, Cassie’s love interest. Having been a pupil at medical school with Cassie before she dropped out, Ryan is sweet and good-natured. On the surface, he is everything that the men who encounter Cassie aren’t and this is alien to Cassie who doesn’t know how to emotional open herself up to him. What is great about Burnham is how subtle his performance is. Whereas Cassie is calculating and cold, he is warm and light, the perfect opposite for Cassie. Naturally, Ryan isn’t aware of Cassie’s antics which makes for a differing perspective when he sees her out and about with another man who she is luring into her trap. As the audience is aware of the act, it is easy to forget that it is something that no one else knows. Seeing his bewildered and disappointed reaction as he believes she isn’t interested in him at all is heartbreaking. It’s this naivity that makes his dark past seem all the more shocking during the start of the third act.

The score by Anthony Willis is phenomenal. Bringing tones from old-school horror with screeching violins and combining it with a modern beat that meshes together to bring a unique sound that works perfectly with the film. There are also a lot of romantic string pieces that would fit into any period drama such as the piece that plays when Ryan forgives Cassie and asks her out on another date. Alongside the pop inspired soundtrack that includes tracks from the Spice Girls and Paris Hilton which are more uplifting. Music is integral to the film, especially Hilton’s “Stars Are Blind” which makes for the backing track for an emotional montage that tracks Cassie and Ryan’s relationship.

Promising Young Woman has proven itself to be a hugely impressive film and will probably be one of my strong favourites going into awards season. Fennell has knocked it out of the park in her directorial debut and I hope she gets recognition for her script, particularly and Mulligan is bound to receive a slew of award nominations and wins. It’s a film that I will be thinking about and wanting to rewatch when it is released. With so many themes and complex characters, there is so much to discuss and I am sure it is a film that will be referenced a lot in the future, especially when discussing feminist films and films made through the female gaze.

What did you think of Promising Young Woman? Let me know what you think in the comments below!

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Crip Camp (2020)

One of the best documentaries coming into this awards season is this Netflix feature that was executive produced by Barack and Michelle Obama. Crip Camp follows the participants of Camp Jened in the 1970s which was a place that catered to teenagers with physical disabilities. Written and directed by Nicole Newnham and James Lebrecht, the film looks at the campers’ experience  at the camp and also their experiences as disabled teens growing up in ableist American in the mid-20th century and how they managed to create change when it comes to ableist discrimination. Starting with the inception of Camp Jened, we are taken through the camp’s lifespan, the campers and their stories to adulthood and how the camp has affected them and motivated them to inspire change. Crip Camp doesn’t hold back and doesn’t want you to feel pity for the campers but inspiration. We immediately see the campers adapting to their environments and thriving despite what society wants to make them think. Simultaneously, simple things such as easy access to public transport and buildings doesn’t exist and organisations and campaigners take it on themselves to fight an establishment that refuses to have their back.

Starring interviews from as many of the campers, campaigners and Camp counsellors, Crip Camp immerses you into their world at the time. As the campers frequently experience discrimination in the “real world”, especially those who had more severe disabilities whereas at Camp Jened they are able to express themselves and feel like they can be heard without prejudice. Refusing to be defined by a society that doesn’t cater to their needs, the kinship at Jened soon turns into a powerful campaign to outlaw ableist discrimination. Also, the rebellious nature that the campers had from a young age has followed through to the present day. They campaign and protest strongly whilst also having fun as they refuse to let society’s bias dampen their spirits.

One of the most powerful scenes in the film comes in the form of the “Capitol Crawl” in which 1,000 people travelled to the Capitol to campaign for the Americans with Disabilities Act to be passed. 60 of the protestors then proceeded to climb up the steps to showcase the need for easy accessibility. To see this footage alongside interviews with organisers and fellow protestors sums up the struggle and the result of their campaigning. When starting the film, you don’t think that it will all end up at the steps of the Capitol but the film grows bigger from the small group of campers to the nationwide protest. Camp Jened feels like a starting point of revolution and this is an important story for our times.

Behind the scenes, the highlight for me is Bear McCreary’s score. Known for his dramatic music for film, television and games with The Walking Dead theme song being his most well-known venture, his score for Crip Camp is subtle and beautiful. The perfect backing track that tells a story in itself, McCreary has been making his mark on composing in recent years and this is another huge accomplishment. Justin Schien’s cinematography is also a fantastic element to the film thanks to his minimalist and realistic approach.

Overall, Crip Camp is a film that brings the unexpected. Chronicling the summers at camp that gave these kids a chance to be themselves with no restrictions, we see how their positive experiences rippled through into their adulthood and inspired change. It will leave you astounded and in awe of the incredible achievements that transpired from their experiences.

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

Crip Camp is available to watch now on Netflix.

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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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On the Rocks (2020)

One of the films I have been eager to watch has been Sofia Coppola’s latest offering, On the Rocks. Starring Rashida Jones as novelist Laura who suspects her husband, Dean (Marlon Wayans) is having an affair. When Laura’s father, Felix (Bill Murray) comes to town, Laura finds her doubts grow until she isn’t sure what she believes anymore. In true Coppola style, the characters are part of a laid back high society not unfamiliar to what Coppola herself is probably accustomed to. Bringing Coppola back onto familiar ground after venturing into other genres in her previous projects, On the Rocks is a lighter offering from Coppola that explores the complexities of marriage and gender roles within the relationship. Distributed by A24 and released on Apple TV, On the Rocks sees Coppola fully embrace the power of streaming service releases as well as reunite with A24 after the release of 2013’s The Bling Ring.

As expected, Coppola both directs and provides the screenplay. Full of signature tropes commonly seen in her films, On the Rocks feels like a more mature offering. Laura is a grounded and settled protagonist, balancing life as a novelist and mother of two. Like many protagonists in Coppola’s films, Laura isn’t afraid to ask questions and isn’t willing to sweep things under the rug. The direction is more toned down to coincide with the topics and characters and yet feels true to Coppola’s style. Interweaving different forms of music with an impressive soundtrack, On the Rocks is the perfect film to showcase the struggles of the modern day woman. Even when shown from a privileged perspective, Coppola is brilliant at making films that can feel relatable for the female audience particularly.

Rashida Jones is perfect as Laura, especially during when she tries to reason with herself when Dean starts to spend a lot of time with his assistant. If this film was directed by any.other director, you could expect another cliche film where the woman is in hysterics and throwing water over her husband. Luckily, this film was made by Sofia Coppola who doesn’t feed into the gender stereotypes and Jones’ performance as Laura perfectly encapsulates how women are forced to adapt a grin and bear it exterior whilst acting as detective. Jones’ approach is subtle and toned as Laura is desperately trying to keep control of the situation and subsequently her life. As mentioned before, even though Laura has a privileged life, her aim to balance a successful work and home life is completely relatable, especially as the scenes in which her and Felix are scheming occur while her children are playing or at ballet class. When the different aspects of Laura’s life begin to be disrupted by her assumptions of Dean’s affair, she becomes manipulated and poisoned by Felix’s persuasions that she willingly follows his instructions without further thinking.

Bill Murray is impeccable as Felix, perfectly encompassing his toxicity and confidence. Felix isn’t necessarily a likeable character but his charisma is hard to ignore. Murray performs the hell out of this character and its hard not to smile as he whistles and worms his way out of tricky situations. On the surface, it seems that he just wants what is best for his daughter but you can’t help but question his motives. He is a man who is set in stereotyped ways, believing that men are not capable of emotion and dead set that Dean is cheating. He encourages Laura to pursue the situation and has Dean followed by a private investigator as well as buying him and Laura tickets to Mexico to follow Dean on his business trip. It could be argued that Felix is the emotional driving force behind Laura’s doubts despite his previous claims that men are detached.

Overall, On the Rocks marks a new direction for Sofia Coppola that shows her growth as a writer and director. Working with familiar and unfamiliar faces allows her to explore new terrain without feeling too uncomfortable. Her commentary on the modern woman is always an interesting take and using Laura as a scope into how the tiniest seed of doubt can grow beyond control makes for a film that is balanced between comedy and drama with small splashes of suspense as well. Contrasting scenes of Felix charming guests at the hotel in Mexico with his singing immediately followed by an emotional exchange in which he is forced to look back on the mistakes he has made and whether he regrets having an affair on Laura’s mother. Just as the title also suggests, Coppola doesn’t allow the audience to sit comfortably to reflect the rocky road the couple are on right now.

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

On the Rocks is available to watch on Apple TV!

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Hillbilly Elegy (2020)

Hillbilly Elegy is based on the memoir of the same name by J. D. Vance (Gabriel Basso) and follows his story as a Yale law student who faces issues when he is called back to his childhood home in Ohio after his mother, Bev (Amy Adams) overdoses on heroin. Directed by Oscar-winning filmmaker, Ron Howard with the screenplay written by Vanessa Taylor (who has received an Oscar nomination for co-writing The Shape of Water). The film flits between the present day J.D. who is having to travel to Ohio to help get Bev back on track and flashbacks showing J.D. as a child growing up in a broken home as Bev’s lack of stability leads to him being put in the care of his grandmother, Mamaw (Glenn Close). Hillbilly Elegy has been the subject of much controversy from the release of the book and even more so with the release of the film.

Ron Howard is a director who has a clear passion and love for filmmaking. His strongest deliveries are when he focuses on biopics with Apollo 13 (1995), A Beautiful Mind (2001) and Frost/Nixon (2008) proving to be his most successful. What makes these films so strong is the connection Howard brings with the source material. On paper, Hillbilly Elegy should have proved to be a success for Howard and bring him his most critically successful film since Frost/Nixon. The memoir contains a lot of political subtext as it delves into his own Republican tendencies and attacks on Democrats, particularly under the Obama administration. This is where much of the controversy lies and with Howard being hugely Democratic himself, he decided to take any political context out of the film altogether. I think this is a huge mistake and a reason why the film doesn’t reach its full potential. Of course Vance and Howard clearly have different political values which is absolutely fine, but taking away Vance’s own political point of view in a story that is hugely ruled by its politics is taking away a big part of his own identity and characterisation. Howard needn’t direct the film in a light that “favours” the political party he opposes but I think the context should have been included even in the background.

Now to discuss the acting performances. Amy Adams has been touted as the lead in this film and I have to say that in my opinion, that is purely a tactic to win more awards. Do not be fooled, Amy Adams is in a supporting role in this film and it should be categorised as such. This isn’t anything against Adams or her performance but it is a very misleading top billing. The true lead performances in this film come from Owen Asztalos and Gabriel Basso as young and adult J.D, respectively. Both do a really decent job capturing J.D’s struggle to fit in and his determination to do well in school and work towards a career in law. Asztalos, in particular, does a great job with the conflict scenes in which he sees his family life breaking apart without fully understanding what is going on.

In support, we have Amy Adams as Bev and Glenn Close as Mamaw. Clearly the stars of the show, both give it their all and do their best with the script. However, I do think Adams was miscast (a statement I never thought I would ever say). Adams is clearly trying so hard to convey Bev’s drug addiction and inability to lead a sober and stable life but the writing doesn’t do much for the character. We don’t feel any sympathy for Bev as she succumbs to her addiction and her behaviour seems to come across as erratic without reason or explanation. In the end, she is dropped off at a motel by J.D who has to leave to attend an interview. There doesn’t seem to be any closure to her issues in a way that feels substantial enough. Close, on the other hand, pulls off a more convincing performance that is subtle and captivates when she is onscreen. She isn’t onscreen a lot but I do think out of the two, she does give the better performance. Gaining a lot of favour for the Best Supporting Actress Oscar, my personal support for now is actually going toward Amanda Seyfried in Mank. Close is going to get her Oscar but I really hope it is for an even better performance.

Overall, Hillbilly Elegy is a film that does fall into the Oscar bait category. With Adams and Close being the living actresses with the most Academy Award nominations without winning one, the film is clearly driving the agenda to add that Oscar to their collections. However, I am a firm believer in giving awards to the performances that deserve it and both women have carried off performances that should have won in my opinion (Amy Adams for Best Supporting Actress in The Master and Glenn Close for Best Leading Actress in Fatal Attraction). I think giving either one an Oscar for their performances in Hillbilly Elegy would be a huge disservice to the phenomenal careers the two of them have had. They do the best with the material and direction they have been given but neither performance is in the top 5 (even top 10) for either actress. When summarising Adams or Close’s careers, it’s highly doubtful that Hillbilly Elegy is going to be discussed among their greatest films.

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

Hillbilly Elegy is available to view on Netflix.

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Mank (2020)

There are few films that have generated such concersation this year than David Fincher’s new film, Mank. Following Hollywood screenwriter, Herman J. Mankiewicz (Gary Oldman) and the inception and creation of Orson Welles’ masterpiece, Citizen Kane, Mank is not your regular run-off-the-mill Hollywood film that glorifies filmmaking. Fincher looks into the dark side of film production and the manipulation that happens behind the scenes. Admittedly, I wasn’t sure what to expect going in beyond it having an amazing cast and crew and the backlash it appears to be receiving on social media but I personally loved it. Not only in its black and white appearance but the tone and direction reflects Citizen Kane which at points blends fact and fiction as Mank begins to succumb to the alcoholism that haunts him.

David Fincher’s direction is fantastic as ever and I truly think this may be the film that puts an Oscar in his hands. Based on a screenplay written by his late father, Jack Fincher, Mank is an intricate character study into the mind of a brilliant man who is challenged by the rules and regulations of the Hollywood Studios. In many ways, Mank feels as though you are watching a film from the Golden Age at points but from a behind-the-scenes vantage point. What is fantastic about how Fincher directs is the shift in tone. There are many points that feel like a thriller or even horror as Mank descends in madness while writing the project. The whole span of the film is sixty days and yet the amount of action feels as though it spans years. The passion Fincher has, arguably in part due to adapting his late father’s script, is evident and I think he does a flawless job at conveying the darkness that lies beneath the glamour. What is brilliant about Fincher’s films is that each one is completely different from the other. He truly is one of the most exciting filmmakers working today, even if his filmography isn’t the most extensive.

Gary Oldman’s performance has played a major part of the discussion in the conversations regarding the film. Playing a man 20 years his junior does seem a little miscast but look beyond this and there lies an amazing performance. Mank is such a layered man who loves his craft and his lifestyle yet isn’t afraid to bite the hand that feeds him. He treasures his friendships but risks it all in the name of his sharp wit and even harsher writing. Oldman is undoubtedly one of the best living actors and although Mank isn’t the best performance of his whole career, it’s still a fantastic turn.

The support in this film comes from Amanda Seyfried who, in my opinion, is the highlight of the film for me. Playing 1930s Hollywood icon, Marion Davies was no easy feat. During the Golden Age of Hollywood, Davies was well-known and admired and unfortunately her affair with William Randolph Hearst (Charles Dance) is what history associates her with. Seyfried will no doubt be nominated for a Best Supporting Actress and I really hope she wins. She’s given flawless performances, particularly in comedies in her early career such as Mean Girls (2004) and Jennifer’s Body (2009). Mank is a welcome dramatic stretch for her while still maintaining the intelligent wit Davies possessed. From her first scene, Seyfried is magnetic in the same nostalgic way the leading ladies were commanded to be.

There are many scenes in Mank that have stayed with me but the one that is the true standout is when Mank begins to discuss his plans for his upcoming film at a dinner that is attended by Marion Davies, Louis B. Mayer (Arliss Howard) and William Randolph Hearst no less. Oldman’s phenomenal acting in this scene is horrendously intense and extremely uncomfortable as he insults and berates the guests at the dinner before setting his attention on Hearst and discrediting his name and political career. Watching Mank make his way slowly around the table as the guests start to leave one by one until only Mank, Mayer and Hearst are the only ones left.

Overall, Mank is a fantastic insight into the overlooked mind behind what is often considered the greatest film ever made. The similarities in filming style of Citizen Kane and Mank are evident that go beyond the black and white stylistic choice. Citizen Kane may be about Hearst but really the creation of the film is primarily about Mank himself and his outlook on the world. Watching Citizen Kane with this new outlook will definitely make it a different experience. I have also been thinking of writing a David Fincher ranking list and it’ll be interesting to see where Mank would fall.

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

Mank is available to stream now on Netflix.