REVIEW: I Saw the TV Glow

Do you ever feel out of place in your family, your community, this world or even your own skin? That inexplicable feeling plagues Owen in "I Saw the TV Glow", directed by Jane Schoenbrun. In this distinctive coming of age drama, a young man seeks comfort in a formative TV show that alters his perception of reality. 

Justice Smith stars as Owen, a young man growing up in the suburbs in the late 1990s. While his peers are busy engaging in romantic relationships and extra-curricular activities, Owen struggles to find his passion. One day, he meets Maddy (Brigette Lundy-Paine), a similarly withdrawn teen who introduces him to the bizarre young adult TV show The Pink Opaque. The pair soon bond over their newfound obsession, which gradually embeds into their psyche. Before long, they both desire to escape into the world of The Pink Opaque and eventually to begin question whether this fantasy world is a real place. 

The show within the show itself is an interesting creation. Visually and tonally reminiscent of a Nickelodeon TV show in the vein of Are You Afraid of the Dark, its low budget aesthetics and creepiness imbue the film with a strong sense of nostalgia. Furthermore, its narrative of a pair of anxiety-ridden teens fighting against a supervillain aptly named Mr. Melancholy, further emphasizes the broader themes of the film.

Indeed, it's no surprise that "I Saw the TV Glow" has been embraced as an allegory for the trans experience. As Owen and Maddy explicitly discuss their confusion about their sexuality and identity within heteronormative expectations, their characters surely resonate with sympathetic viewers. Furthermore, Schoenbrun's liberal use of neon pink and purple hues and the emo rock interludes establish a strong atmosphere of teen angst through a prism of queerness.

That angst is made physically manifest in the film's impactful lead performers, particularly Justice Smith, who digs deep to channel his character's inner turmoil in a decades-spanning journey. His performance not only speaks to individual experience, but broader provocations about the failure of the comforts of conventional suburbia. In the film's stunning conclusion amid the manufactured joy of arcades, multiplexes and birthday parties, his suffocation is writ large with every shiver and guttural scream during a breakdown which solidifies his as one of the essential performances of the year. It makes for a scene, and by extension, a film that I won't be forgetting any time soon.

Tweet

REVIEW: Dune: Part Two

As the cineplexes continue to be increasingly dominated by sequels and other questionable cash grabs, there is ongoing debate surrounding what to expect from blockbusters. Do they need to look good? Do the scripts need to be deep or "woke"? For Canadian filmmaker Denis Villeneuve, the answer is a resounding yes, exemplified in his latest blockbuster spectacle "Dune: Part Two". Picking up right where he left off in "Dune", this is a sequel whose artistry and themes are as impressive as its escapist thrills.

"Dune: Part Two" takes place in the aftermath of the extermination of House Atreides by the House Harkonnen. As the two remaining survivors of the Atreides Royal Family, Paul (Timothee Chalamet) and his mother Jessica (Rebecca Ferguson) have escaped to the desert of Arakis, pledging allegiance to the Fremen. As they learn their ways, Paul becomes venerated as the prophesied messiah who will restore control of Arrakis to the Fremen. Meanwhile, Jessica is installed as the clairvoyant Reverend Mother. Elsewhere, the Harkonnen are building their defenses to maintain their control of the coveted resource called spice, under the leadership of Feyd-Rautha (Austin Butler), the merciless nephew of Baron Vladimir Harkonnen (Stellan Skarsgård). As the Fremen resistance gains steam, the houses will inevitably collide, setting in motion a holy war that will shape the future of the world.

And the crafting of that world is one of the film's greatest attributes, projecting epic scale that demands the biggest screen possible. From the deep oranges of the sky and sand, to the impressive crowd shots, to the astonishing visual effects, it offers genuine visual spectacle. Indeed, the heartpounding battle sequences and the wormriding are some of the year's most unforgettable scenes. 

What makes the film so special, however, is how the visual spectacle is all in service of a brilliant script. As the various characters scheme to assert their power, the narrative emerges a profound commentary on religion, poking fun at how gullible people are (Javier Bardem's awestruck Stilgar is a scene-stealer) in times of need and how religion is therefore used to manipulative ends. Indeed, the belief in Paul as the Lisan al Gaib is just as powerful as the Jessica's Bene Gesserit mind control. 

That seamless balance between allegorical relevance and imaginative worldbuilding makes "Dune: Part Two" timely and timeless. And when you throw in a slew of committed and intense performances, you've got a film that works on all levels. It's blockbuster filmmaking done right. 

Tweet

REVIEW: The Seed of the Sacred Fig

Almost every time I watch an acclaimed new film from an Iranian auteur, I'm amazed at their skill for dramaturgy. On the surface, filmmakers like Asghar Farhadi, Majid Majidi and Vahid Jalilvand make simple stories about interpersonal conflict, often among family members. But there seems to be an indescribably Iranian flair to their dramas, which deftly weave social commentary and moral dilemmas to powerful effect. Adding to that canon is another prime example of Iranian storytelling mastery in the form of Mohammad Rasoulof's "The Seed of the Sacred Fig".

Set in contemporary Iran, "The Seed of the Sacred Fig" explores the fallout afflicting a man named Iman and his family, after he receives a deceptively auspicious promotion. Iman is a dedicated lawyer who has recently been promoted to investigating judge in Iran's infamous Revolutionary Court. Having prided himself on being fair and just, he hopes to bring this approach to his new role. But he quickly realizes that this new position comes with strings attached - as he is forced to hand down rushed convictions on the order of the prosecutor. Many of these convictions come with the death penalty, a fact which begins to weigh on Iman's conscience. Meanwhile, he begins to butt heads with his own two daughters, who represent part of a growing resistance to the inhumane theocracy their father represents. Caught in the middle is their mother, who largely sides with her husband but is forced to face the violent truth behind the propaganda. But the center cannot hold, neither for this family or the country at large.   

The personal and the political truly collide in this stunning drama. Centering an ensemble of complex characters, the escalating tensions are engrossing to witness, as a fatal case of police brutality puts everyone on edge. Rezvan (Mahsa Rostami) and Sana (Setareh Maleki) are immediately compelling as the headstrong daughters who speak truth to power as they follow the ongoing protests via cell phone video and through the experiences of their persecuted peers. Meanwhile Soheila Golestani is perfectly inscrutable as their mother Najmeh, who struggles to navigate the conflicting feelings surrounding the pride of her family's new social stature, her strong belief in religious traditions and the harsh reality that opposes the state-supported propaganda she consumes.

The most complex character is undoubtedly Iman, however, as his resigned solemnity gives way to rage when his worldview is challenged, acutely ignited when his gun goes missing. His subsequent extreme response is absolutely chilling to watch, offering a fascinating study of how "good" men can become corrupted by power and blind faith. As the film crescendos towards its powerful conclusion (capped by sobering real life protest footage), "The Seed of the Sacred Fig" rings true as a searing indictment of Iranian society and a cautionary tale of the dangers of rising right-wing fervor worldwide.

Tweet

REVIEW: No Other Land

"I hope God takes him and relieves him from this life." This despondent remark comes from a tearful Palestinian mother during an interview about her son, who was paralyzed by Israeli soldiers as he fought to keep his property. Spoken in a late scene from "No Other Land", it's a rare but telling moment of weakness in a tremendous documentary about injustice and resistance.

That statement is one of several profound and heartrending utterances littered throughout "No Other Land". The film documents the decades-long struggle afflicting the residents of Masafer Yatta, a community of hillside villages located in the West Bank. Told from the perspective of a young man named Basel, he recounts the circumstances surrounding a 22-year contentious battle on the land and in the courts, culminating in a decision by the Israeli government to evict the people of Masafer Yatta to make way for a military training site. Armed with a camera and assisted by his sympathetic Israeli friend Yuval, the pair thus set out to capture the events as they unfold and enlighten the world to this grave injustice.

Indeed, the film is a testament to the power of the camera. From the archival footage from Basel's childhood awakening to the conflict, to the tense moments as villagers tussle with soldiers, there's a unique impact to this citizen journalism that hits home differently than the typical news media presentations. Indeed, the real-time demolitions and frantic desperation surrounding the evictions elicit a visceral horror that pays testament to the severe power imbalance in this so-called "war". Furthermore, the enthusiastic participation of regular civilians in the evictions support Ta-Nehisi Coates' controversial assessment that this a dire apartheid situation.

But apart from the physical violence, it's the film's ability to distill this crisis down to its most essential human elements that makes it so special. The friendship at its core conveys a symbolic optimism for similarly peaceful relations in the future, while also providing an avenue to express more cynical truths. In one breath, they naively proclaim that their journalistic endeavors will force the United States to intervene (an unfortunate irony considering the film's infamous lack of US distribution). Meanwhile, other intimate conversations find them succumbing to sorrow and despair. 

Despite the film's bleak outlook, there's no denying its message of resistance. Indeed, even Massafer Yatta's youngest citizens unwittingly contribute to the movement, exemplified in a deceptively innocent scene where a group of children playfully point out the familiar mountains, grass, chickens and rocks that prove "they exist!" Indeed, in its sincere committment to putting a human face to the well-known genocidal statistics, I can think of no film from 2024 as urgent, important and soul-stirring as "No Other Land."

Tweet

REVIEW: The Brutalist

Ever since his operatic directorial debut "The Childhood of a Leader" and his sophomore effort "Vox Lux", Brady Corbet has established a reputation for ostentatious character studies. Exploring the psyche and atmosphere surrounding the coming of age of a Hitler-like fascist and a rising pop star, his first two films employed bold filmmaking style while still being grounded in truth. The same can be said about his latest work of art "The Brutalist", an epic migrant drama which proves to be his most ambitious undertaking to date.

"The Brutalist" follows the decades-spanning journey of Lazlo Toth, an accomplished Jewish-Hungarian architect whose career is derailed by the Holocaust. In the aftermath, he gets the fortuitous chance to escape to America, with hopes that his lost wife and niece will eventually join him. After arriving in New York, he ends up in Philadelphia to stay with his cousin Attila, who has completely assimilated into American life. Lazlo is soon put to work in Attila's furniture business, where he is introduced to a wealthy businessman named Harrison Lee Van Buren (Guy Pearce), whose son has commissioned a surprise conversion of his study into a modern library. After some initial friction over the project, Harrison takes a liking to Lazlo and offers him the opportunity of a lifetime. In honor of Harrison's late mother, Lazlo is to oversee the design and construction of a multi-functional community center. But all that glitters is not gold, as this challenging project gradually reveals the darker side of achieving the American Dream.

Indeed, "The Brutalist" delves into the facades of class and benevolence that formed the foundation of post-World War II American society, embodied in Guy Pearce's simultaneously graceful and mercurial portrayal of Harrison. As Lazlo makes a new life for himself under Harrison's patronage, the lingering resentments from the WASP elite - and its aspirants - are always bubbling under the surface, signified through offhand insults, patronizing compliments and subtle body language. And Brody expresses his sense of inner resistance with a palpable air of pride and dignified eloquence, even as he is incrementally wounded under their guise of charity. In fact, Brody's performance and his character arc resonate so deeply and authentically that you may be inclined to research Lazlo Toth on Wikipedia.

Corbet's depiction of Lazlo's troubled immigrant journey evokes classic, sweeping storytelling that feels old-fashioned in the best way. Numerous indelible images punctuate key moments, for example, from the sight of an inverted Statue of Liberty upon arrival to American shores, to tearful reunions at bus and train stations. "The Brutalist" truly understands the power of grand cinematic moments, making good use of its VistaVision cinematography, epic running time, intermission and glorious score to make for an awe-inspiring big screen experience. They really don't make 'em like this anymore.   

Tweet

REVIEW: Will & Harper

Throughout life, we go through many important relationships, both platonic and romantic. In marriage, for example, we vow to be committed despite whatever comes our way. But as most people can attest, a close friendship can be the most enduring of them all. Such a friendship is examined in Josh Greenbaum's beautiful documentary "Will & Harper", in which a close bond is tested by an unexpected revelation.

The friendship at the heart of the film is that of actor Will Ferrell and his best friend, a former SNL writer previously known as Andrew Steele. One day, Ferrell receives a letter from Steele, informing him that he is now known as Harper due to his decision to publicly identify as a trans woman in his 60s. After the initial shock, Ferrell and Steele soon begin to ruminate on how to proceed in this new stage of their friendship. Recalling Steele's love of exploring America by car, he suggests a cross-country roadtrip from New York to Los Angeles. And before long, they hit the open road for the adventure of a lifetime. On this journey, they'll strengthen their bond through heart-to-heart conversations, as well as interactions with the outside world that will reveal both the hardships and love that Harper will now face.

Indeed, "Will & Harper" gets deeply personal, as the pair engage in open-hearted discussions with each other, loved ones and other people they meet along the way. Bolstered by Harper's own diary entries, childhood photos and memories, the film is truly enlightening about her emotional, physicological and physical journey. Coupled with discussions with another older trans woman similarly hailing from Middle America, it's an informative exploration of the challenges and contentment of the trans experience. 

Though there are other welcoming encounters, the film doesn't shy away from the ugly corners of American society, as one Texan dining experience stimulates hateful online discourse. For the most part, however, the film has an optimistic air about it, with Ferrell's effortless sense of humor further lightening the mood. Admittedly, Ferrell's neutralizing presence does make one question the sincerity of the tolerance shown to Harper in a few scenes.

But ultimately, Will's support is the whole point of the film, rather than a emphasizing Harper's vulnerability. As Harper reflects towards Will at the end of the film, "You are a good friend." And that overarching sentiment sends such a heartwarming message of true friendship, one that provides unwavering support and enables self-love. If only we could all be so lucky. 

Tweet

REVIEW: The Wild Robot

One of the biggest victims of modern Hollywood's sequel craze is animation, as icons of originality and creativity such as Pixar and Dreamworks have come to look like a shadow of their former selves. But all is not lost for this uniquely imaginative cinematic medium. Films like Chris Sandler's wonderfully heartfelt "The Wild Robot" continue to renew our faith in the future of animated films. 

Based on the novel of the same name, "The Wild Robot" is the story of a robot named Roz (voiced by Lupita Nyong'o). Following a shipwreck, Roz finds herself lost on a forested island, where myriad animals roam free. Programmed to complete assigned tasks to serve the needs of human beings, she suddenly feels useless in this new environment, where the animals see her as a dangerous monster. But Roz will soon find renewed purpose after tussling with a mischevious fox (Fink) over a newly hatched and orphaned gosling. The gosling (soon to be named Brightbill by Roz) immediately becomes attached to Roz and soon, they form a mother-son relationship that transcends Roz' programming. Now, alongside Fink, this motley crew must come together to teach Brightbill how to eat, swim and eventually fly during the upcoming geese migration in winter. 

As the trio prepare for that fateful day, the film is remarkably honest about the hostile nature of their wild environment. Notably, Brightbill is an outcast among the animal kingdom, including his own species, who remind him that he is a runt who wouldn't survive under normal circumstances. Furthermore, one of the film's most amusing running jokes is the pitch black humor of a litter of possums, who are disturbingly enthusiastic about death. 

The chaotic nature of the survival of the fittest theme delivers several other funny setpieces for audiences of all ages to enjoy. And the voice performances further enliven the plot, particularly the smooth tone and immaculate diction of Nyongo and Pedro Pascal's perfect snarkiness as Fink. But while the film is unmistakably family-oriented, its most resonant throughline is how it explores the more mature themes associated with parenthood and community.

Indeed, viewers who are parents or have been blessed with the wisdom of hindsight will surely relate to Roz' gradual understanding of maternal love. Her fear of failure, selflessness, patience and empty nest sadness will leave you feeling misty-eyed. Furthermore, the narrative hits home a timely message about the importance of diversity in strengthening communities. And the soaring music rides the waves of all these emotional highs beautifully, exemplified by the original song "Kiss the Sky".

Ultimately, "The Wild Robot" is a straightforward, uncomplicated story that wears its heart on its sleeves. But what makes it especially affecting is the thoughtful way it deploys its sentimentality in a way that will appeal to children and adults alike. It's a real triumph of the animated artform.

Tweet

REVIEW: Spider-Man: Across the Spider-Verse

After numerous sequels, reboots and Marvel Cinematic Universe crossovers, you'd think audiences would be tired of seeing Spider-Man on screen. I would be one of the first to admit a certain level of superhero fatigue. But when "Spider-Man: Into the Spider-Verse" introduced the animated interpretation of Miles Morales as our friendly neighborhood Spider-Man, this enduring IP was thoroughly reinvigorated. Five years later, the sequel "Spider-Man: Across the Spider-Verse" has further solidified a lofty pace in the canon, with an extraordinary piece of art that stands as one of the very best comic book adaptations. 

"Spider-Man: Across the Spider-Verse" picks up where things left off for Morales' new companion and fellow Spider-person Gwen Stacy. Having returned to her alternate universe where she is now separated from Miles and suffering the loss of her best friend Peter Parker, Gwen feels despondent about her life. But an unexpected chance to reunite with Miles and a vast network of Spider-People appears on the arrival of a new villain named Spot, whose revenge-driven plans threaten the entire multiverse. With their various worlds at risk, the Spider-Society must band together before it's too late. 

At it's core, "Spider-Man Across the Universe" uses a familiar formula. Namely, a select group is tasked with saving the world from destruction by a slighted villain. Indeed, even the multiverse concept was already explored by "Spider-Man: No Way Home" before it. And yet, the film still manages to feel fresh by interpreting the well-worn narratives in exciting and inventive ways.

Most notably, the animation mesmerizes with its array of styles - sometimes mixed within the same scene - ranging from painterly tableaux to more directly comic-influenced sketches. Those dazzling visuals and the epic soundtrack set the tone for the film's fast-paced energy, as Miles' adventure explores myriad settings and characters. Yet miraculously, the complex narrative never feels convoluted, which is a credit to the excellent voice performances that give the film its palpable human characters to care about. They truly feel more fully realized than many of the bland live action heroes we've seen over the years.

Ultimately, it's this grounded humanity that sets "Across the Spider-Verse" apart. The sincere relationships between family and friends. The relatable challenges of coping with parental expectations. The thought-provoking ideas surrounding fate and the butterfly effect of our choices. It all comes together for a film that's both incredibly thrilling and emotionally resonant. I can't wait to experience the next chapter of this monumental cinematic journey.

Tweet

REVIEW: The Zone of Interest

On first glance, the Höss family of two parents and five children are your typical middle class family. They live in a comfortable home with hired help, a beautiful garden and nearby lake. But look closer and you'll find something far more sinister than this white picket fence ideal. As Jonathan Glazer's "The Zone of Interest" tells the story of this family, the bigger picture is one of the most unsettling things you'll see on film.

The truth is, this family is not your ordinary group of Germans and this is no ordinary countryside setting. The head of this household is in fact, a Nazi commandant and on the other side of the wall of their humble abode is none other than the infamous Auschwitz concentration camp. As the horrors of the Holocaust are inflicted next door, the Höss family carry on with their daily routine. For Rudolf, his main concern is climbing the ranks of the Schutzstaffel (SS). Meanwhile, Hedwig tends to the garden and plays the dutiful wife and mother. 

That unbothered banality is in fact what makes "The Zone of Interest" so stupefying and downright nauseating at times. While we never see their Jewish victims, their suffering is omnipresent in nearly every scene thanks to the atmospheric sound design and evocative shot compositions. Indeed, there's no dismissing the low rumbling sound of the Holocaust operation - recalling the mechanistic portrayal of Auschwitz in 2015's "Son of Saul" - which is accompanied by the intermittent screams and gunfire. Likewise, the smoke from the gas chambers and the towering structures of the camp further bear witness to the evil at hand. 

And that evil is also expressed within the seemingly peaceful home too. While maintaining his austere tone, Glazer skilfully finds subtle ways to show how the Hösses' domestic life is intimately linked to the Holocaust's crimes. It's evident in the casual way a group of women discuss the stolen posessions of Jewish people over a cup of coffee. Or a mother and daughter sparing a fleeting thought for a Jew they knew personally, before continuing their stroll through a garden mere feet away from Auschwitz. And through many other subtle examples, it rebukes the notion that only those outfitted in Nazi uniform were fully aware of and complicit in the atrocities committed. Indeed, Sandra Huller's Hedwig is as terrifying as her husband, as she callously barks orders at her servants and even threatens murder.

Some years ago, the esteemed Austrian filmmaker Michael Haneke denounced the vast majority of Holocaust cinema, claiming that tended towards insensitive manipulation in their efforts to appeal to audiences. In his matter-of-fact approach to depicting this Nazi family and their life, "The Zone of Interest" feels like it acknowleges those ethical concerns. It's a stunning film of indellible images and sounds, with an ending that further hits home with present day relevance.

Tweet

REVIEW: Four Daughters

Among the post 9/11 terror panic, few radical groups are as feared as ISIS. At the height of their powers they seized control of significant portions of territory across Northern Africa and the Middle East and waged a murderous campaign against those who did not conform to they draconian laws. Perhaps one of the most confounding elements of the rise of ISIS are its voluntary female members, who submit to a life of subjugation. One such example is intimately explored in Kaouther Ben Hania's documentary "Four Daughters", in which a Tunisian mother processes the loss of her two oldest daughters to the ISIS cause. 

The subjects of "Four Daughters" are Olfa and her two remaining daughters Eya and Tayssir. As Olda prepares to tell the story of her family, Ben Hania sets the premise of the film, wherein professional actresses will portray the lost sisters Rahma and Ghofrane, as well as another who steps in for Olfa during particularly difficult moments. As all six women participate in this effort to bring the past back to life, the filmmaking process illuminates a wealth of wisdom and understanding amid the painful memories. 

Indeed, as this remarkable collaboration unfolds, the storytelling reveals both personal and broader truths. Probing the past to understand the present, Olfa begins by recalling the male harassment her mother faced and her own unfullfilling and dispassionate marriage. Later, as she recalls her own volatile motherhood, a legacy of patriarchy and misogyny is revealed, profilerated by society and more significantly, Olfa herself. 

In confronting Olfa's complicity and guilt in her daughters' eventual rebellion and disillusionment, Ben Hania's unique docudrama style proves to be ingenius. On a formal level, the film features stunning mise-en-scène. Furthermore, it's also a triumph of casting (as incredulously acknowledged throughout). And as the actresses and the central women work together, their genuine connection blurs the lines between reality and acting. Rather than mere reenactments, the women form a sincere sisterhood in which they challenge the warped psychology that failed Olfa and society as a whole.

Ultimately, "Four Daughters" serves as a devastating cautionary tale for other mothers and daughters in similarly conservative societies. In addition, it's a testament to the power of filmmaking, using a beautifully collaborative process to directly address a harmful cycle of oppression afflicting women. It may not tear down the pillars of partiarchy, but in its deeply personal way, it offers healing for its subjects and audiences alike. 

Tweet

REVIEW: Barbie

Under ordinary circumstances, the idea of a "Barbie" film would elicit dismissive groans from any discerning movie lover. But when it was announced that this big screen adaptation of the beloved doll would be helmed by the talented Greta Gerwig, it instantly became one of the hottest prospects of 2023. As it turns out, that excitement was warranted, as "Barbie" emerged as one of the most enjoyable films of the year.

"Barbie" stars Margot Robbie in the titular role as stereotypical Barbie, a conventionally pretty woman living the dream life in Barbieland. In her perfect world, the female Barbies sit atop the social hierachy while the male Kens engage in trivial pursuits and aim to please the female citizens. But this feminist fantasy will soon be turned upside down when an existential crisis corrupts Barbie's carefree worldview. And after consulting with the Weird Barbie, she learns that she is connected to a human owner in the real world, whose own depression and self-doubt is affecting her. Now, Barbie must journey to California alongside her besotted admirer Ken (a hilarious Ryan Gosling) to get her life back to normal. Little does she know, her experiences there will change her life forever.

Like a metaphor for the Garden of Eden story, the visual language of "Barbie" vividly conveys Barbie's fall from grace. Indeed, Barbieland is a wondrous creation, with bright colors, playful sets and costumes inspired by the long history of Barbie merchandise. In comparison, the real world indeed looks drab and corrupted.

That corruption seeps into the mind of Ken, who returns to Barbieland and establishes a patriarchy, setting in motion a psychological battle of the sexes as women seek to regain control. As this war is waged between the Barbies and Kens, the colorful setting proves to be the perfect playground for the film's campy delights. From endless sight gags, to infectious songs, to showstopping dance numbers, the script brilliantly leans into its silliness while still feeling intentional and meaningful. Specifically, it offers resonant social commentary on topics such as the pressures women face to be perfect, as well as men's competitive nature and penchant for war. 

It all leads to a poignant awakening for Barbie, who learns to embrace the pitfalls of being human and specifically, a woman. Gorgeously imaginative, inspiring and just plain fun, it's no wonder why "Barbie" was the movie event of the year. Just like her wonderful "Little Women" adaptation, Greta Gerwig once again proves that you can ineed bring an ingenious, fresh spin to some of our oldest IP.

Tweet

REVIEW: Anatomy of a Fall

In the opening scenes of Justine Triet's engrossing Palme d'Or winner "Anatomy of a Fall", we meet the film's protagonist Sandra at her cozy mountain chalet. A successful writer, she is being interviewed by a young female student. As the pair being to establish a warm rapport, the interview is interrupted by loud music being played by her husband upstairs. Forcing them to reschedule, Sandra and her blind son Samuel return to their daily routine. But the peace is later disturbed once again when Daniel finds his father dead, right below the same attic from where the music played. Sandra claims the death to be accidental, but further investigations raise suspicions of foul play.

Before long, a full scale court case builds against Sandra, who enlists a lawyer friend to help with her defense. With the home now being considered a crime scene, every detail is analyzed, from the trajectory of the blood splatter to the house' acoustics. Daniel also becomes embroiled as a witness to not only the day's events but the history of his parents' relationship.

Indeed, "Anatomy of a Fall" gradually evolves into an interrogation of not only whether or not Sandra committed murder, but also of the couple's entire relationship. As the courtroom scenes dive into their past, the screenplay keeps adding layers which constantly shift our perspective on the incident and the possible motives. And throughout, it challenges the "truths" we interpret based on what we see, feel and hear. The latter is particularly intriguing through the exploration of taped recordings and Daniel's blind perspective.

As the drama unfolds, Triet's assured direction and thoughtful script never oversensationalize the proceedings. Likewise, Huller is equally judicious in her acting choices, putting on a veritable masterclass of conveying both internal and outwardly expressed turmoil. The experience of studying her face throughout this film is worth the price of admission alone.

Of course, courtroom dramas rely on equally captivating supporting players and "Anatomy of a Fall" certainly fits the bill with an incredible ensemble. Though his character dies early, flashbacks showcase Samuel Theis as an ideal match for Huller's acting prowess, conveying an authentic relationship dynamic in one particularly explosive argument scene. Similarly, Antoine Reinartz invigorates the courtroom scenes as the feisty prosecutor. But perhaps the most haunting performance comes from the diminiutive Milo Machado Graner, showing skill beyond his years by brilliantly expressing the ambiguity and doubt on which the film succeeds. Altogether, it's their performances that make this writerly film about writers soar and bring Triet's astute directorial vision to life. 

Tweet

REVIEW: Killers of the Flower Moon

Much like its legacy of slavery, American society has yet to fully reckon with the genocidal suppresion of Native Americans. In his latest epic "Killers of the Flower Moon", Martin Scorsese explores one particularly shameful chapter in the history of Native American relations, when the Osage Nation came under attack after the discovery of oil on their land. Shedding a necessary light on the greed, hatred and violence upon which the nation was founded, this powerful film is a vital, quintessentially American story.

Foreshadowing, the destruction to come, "Killers of the Flower Moon" opens with a ceremonial gathering of Osage Nation elders. As they symbolically bury a pipe representing their people's culture, they lament the impending loss of their identity due to the capitalist exploitation of their newfound oil riches. Indeed, we soon learn that that the Osage summarily rise to become the richest people per capita in the world. But this wealth comes at a heavy price, as White Americans seek to claim their fortunes for themselves. Among the Osage Nation is a woman named Molly, whose diabetes affliction is somewhat soothed by the courtship of the newly arrived Ernest Burkhart. But his motives come into question when a series of intermariages and subsequent murders result in transfers of Osage peoples' headrights to the White population. With these deaths coming dangerously close to her own door, Molly is forced to confront a horrifying conspiracy that threatens the survival of her people.  

Crafted with Scorcese's typical attention to detail and vivid atmosphere, "Killers of the Flower Moon" is at once captivating and unsettling. With a considerable - yet engagingly paced - running time of 3 hours and 26 minutes, the rich screenplay takes its time to establish the setting, the characters and their relationships. Indeed, the film transports us viscerally back to 1920s Oklahoma, where the underlying tensions between traditional indigenous lifestyles and modern decadence are made visible through the juxtaposition of vast fields and ranches and the busy streets lined with saloons and other commercial establishments.

Underneath the performative civility and the Native Americans' prosperity, however, the dynamic between them and the White people is still emblematic of the wild west. But in this version of "cowboys vs Indians", Scorsese rejects the age old depiction of White cowboys as heroes. Indeed, every scene of violence inflicted on Native Americans is jolting in its brutality and its nonchalant heartlessness. Furthermore, the outstanding performances also pinpoint the victims and oppressors. As Molly, Lily Gladstone is the beating heart of the film, with a graceful presence that practically commands you to be still and notice her. Meanwhile, Leo DiCaprio skillfully downplays his usual charisma to embody a dim-witted scoundrel. And as William King Hale - the primary mastermind behind Osage murders - Robert Deniro gifts cinephiles yet another unforgettable performance, portraying a chillingly composed demeanor while orchestrating unimaginable evils.

Through the authentic performances and world-building, there's an almost docudrama-like feel to this masterful work of art and historical reflection. It's the kind of film that enlightens you and makes you want to learn. Apart from its compelling cross-genre filmmaking, it's that agitating effect that makes "Killers of the Flower Moon" such essential part of 2023's cinematic landscape.

Tweet

REVIEW: Oppenheimer

During the month of August 1945, two events occured that would change the course of world forever. Specifically, the atomic bombings of the Japanese cities Hiroshima and Nagasaki by the US government signalled the dawn of the nuclear age, where mankind now possessed the ability to enact world annihilation. The catastrophic toll of those infamous bombings would never be forgotten. But the events both before and after this act of agression are equally important to understand. In his latest masterwork "Oppenheimer", Christopher Nolan recounts that fateful time which found humanity at a crossroads due to the efforts of a man who became known as "the father of the atomic bomb."

That influential man is J. Robert Oppenheimer, an American physicist of Jewish heritage who trained in Europe before returning to the United States. Upon his arrival he is soon hired to teach at the University of California, Berkeley, where he dedicates much of his time to further understanding the potential of nuclear physics. Through the advancements of his research and fortuitious networking, he is recruited in 1942 to lead the Manhattan Project. Motivated by an international arms race between the United States, the Soviet Union and Nazi Germany, the project assembles a team of some of the world's brightest minds to develop an atomic bomb. Working and living with their families at the newly built Los Alamos laboratory in New Mexico, they set out to test their theories of nuclear fission. But with the devastating risk associated with this powerful weapon, everyone involved is forced to contemplate the implications of what they are about to unleash.

In a prime example of "just because you can, doesn't mean you should," the moral dilemma inherent in creating a weapon of mass destruction is indeed at the heart of "Oppenheimer". But the seemingly obvious stance is made complex through the film's robust screenplay, which digs into the geopolitics, scientific curiousity and male ego that drove both the creation and use of the atomic bomb. Known for his heady explorations of the boundaries of time and physics in such films as "Inception" and "Interstellar", Nolan once again shows his gift at making highly intellectual concepts accessible to mainstream audiences. Indeed, it's almost a miracle that a 3-hour movie largely involving smart people talking could be so edge-of-your-seat engaging. And much of that can be attributed to the relentless pacing, astonishing score and overall awe-inspiring production values.

But perhaps most impressive is the large ensemble cast, with every actor leaving their mark. Standout supporting players include Robert Downey Jr. as the conniving U.S. Atomic Energy Commission (AEC) who plays a major role in Oppenheimer's eventual security hearing, as well as Emily Blunt's no-nonsense portrayal of Oppenheimer's wife Kitty. And in the lead role, the film's central conflict is writ large on Cillian Murphy's face, as he conveys both the thrill of discovery and the anguish of his character's irreversible actions. 

Simply put, this film is a stunning achievement. Much like Oppenheimer is haunted by his work, so too will its brilliance stay with me for years to come. It's an instant classic.

Tweet

REVIEW: Bobi Wine: The People's President

The corruption of African leaders has almost become a cliché since the post-colonial democratization of the continent's various nations. But unfortunately, there's some truth to this stereotype, as evidenced by the case of Ugandan President Yoweri Museveni. His stranglehold on the country is documented in an extraordinary new film "Bobi Wine: The People's President" directed by Moses Bwayo and Christopher Sharp. 

"Bobi Wine: The People's President" is the story of its titular character, who mounts a daring campaign to unseat Museveni and chart a new course for his homeland. He is a man who wears several hats - loving family man, successful musician and now, beloved politician. Taking advantage of his pre-existing fame of his music career and his humble background (the film's previous title referred to him as "Ghetto President"), he quickly finds favour with the general populace as a man of the people. And within a few years, his political trajectory takes him from elected parliament member to presidential candidacy. But in a society where free and fair elections are a lofty dream, his ambitions seem futile and increasingly dangerous despite his rising popularity.

That sense of danger is quickly felt in "Bobi Wine: The People's President", as Bwayo and Sharp plunge audiences into the thick of the struggle. As we witness gunshots being fired in the streets, the intensity may cause you to flinch instinctively. The camerawork is truly incredible throughout, and the access afforded the filmmakers makes the film all the more involving. 

From the heated parliamentary debates, to the infectious energy of the campaign trail, to the more quiet moments at home, we are treated to the full scope of Bobi Wine's daily life. And by his side is Barbie, a Winnie Mandela of sorts who remains steadfast to the cause amid her husband's undue arrests and threats to his life. Meanwhile, the film smartly allows Musaveni to contribute his perspective in his own words, including dubious media interviews which further prove his dictatorial regime.

While unfettered power is the film's main theme, "Bobi Wine: The People's President" could just as easily be viewed as a love story. Most obviously, there's the love between Bobi Wine and his family. But more significantly, the film displays the patriotic love that drives him despite the seemingly impossible task. As such, the film leaves viewers with a suprising sense of optimism, pointing to the embryonic but hopefullly fruitful seeds of a revolution that was indeed televised.

Tweet

REVIEW: Poor Things

In the summer of 2023, Greta Gerwig's "Barbie" took the world by storm to the tune of $1.4 billion at the box office. Crafting a feminist tale surrounding the candy-colored fantasy world of the beloved doll, it critiqued the narrow ideals of beauty and womanhood perpetuated by the beloved doll's enduring popularity. The film rightfully earned audience and critical acclaim upon release but a few months later, its brilliance was arguably eclipsed by an even more subversive character study of a woman rejecting societal expectations - Yorgos Lanthimos' "Poor Things".

Set during the Victorian era, "Poor Things" is the story of a strange young woman named Bella Baxter (played by Emma Stone). When we meet her she lives with a scientist she calls God (a perfectly grotesque Willem Dafoe). God is short for Godwin, which proves to be an apt nickname considering the origins of their relationship. Indeed, we soon learn the reason for her peculiar behavior and social awkwardness, as it's revealed that her current persona is the result of one of Godwin's bizarre experiments. Bella was previously a pregnant woman who committed suicide, but was then found by Godwin, who proceeded to replace her brain with that of her unborn child. Now a blank slate, the new Bella Baxter must now learn about herself and her place in the world. With her child's curiosity as her guide, she thus sets forth on an global adventure upon the invitation of a charismatic lawyer, much to the chagrin of her protective father figure. 

The film's absurdist premise is immediately striking, as Stone's fully committs to a characterization that would be almost offensive if her backstory weren't later revealed. Indeed, as described by Ramy Youssef's Max exclaims when he first meets her, she is a "very pretty retard." But from these clumsy beginnings, Stone charts Bella's accelerated development into adulthood brilliantly, with gradual changes in her physicality and speech. And as Bella undergoes her sexual awakening and intellectual development, Lanthimos' astute screenplay explores philosophical questions surrounding free will, gender relations and the underlying cruelty of polite society.

As Bella becomes increasingly enlightened, the film's feminist manifesto does sometimes feel like it's conveying Lanthimos' worldly voice rather than Bella's. But the preachiness is thankfully offset by the film's genuine playfulness and humor, most notably from Mark Ruffalo's hilariously flustered portrayal of Duncan Wedderburn as Bella's frustrated lover. Meanwhile, the cinematography is incredible, transitioning from its initial black-and-white to thereafter exploding with deeply saturated colors and expressive production design when Bella ventures out into the world.

"Poor Things" is truly reflective of the singular artistic visison of Yorgos Lanthimos. It's weird, provocative, funny and ultimately, surprisingly sweet. It's easily one of 2023's best films.

Tweet

REVIEW: Bones and All

On the surface, Maren Yearly (Taylor Russell) seems like your average teenager, living with her dad Frank (André Holland) in 1980s Virginia. It's the latest in a series of relocations for the duo and she just wants to fit in with the crowd at her new high school. But Maren has a secret that reveals the reason behind their nomadic lifestyle and prevents her from truly being a normal girl. While enjoying a casual sleepover with friends, she submits to a compulsive urge she's had all her life - a cannibalistic desire to consume human flesh.

And with a swift devouring of a friend's finger, the plot of Luca Guadagnino's "Bones and All" kicks into motion. As they've done numerous times before, Maren and her dad activate their escape plan. But this time is different, as Frank decides to abandon her to fend for herself, leaving a tape detailing their lifelong struggle and his reason for leaving. In it, he speaks of her mother's similar affliction, which prompts Maren to embark on a cross-country mission to find her and get some answers.

As Maren makes her way across middle America, she meets several other "eaters" on the open road. Among them is an obsessive older man named Sully (a suitably creepy Mark Rylance) and a young man named Lee (Timothy Chalamet). When she meets the latter, the pair strike up a deep connection that sustains them through their struggles to survive and control their urges.

Despite their best efforts, however, the duo are unable to resist both their cannibalistic nature and the violence they attract. And in depicting this, Guadagnino deftly uses visual and aural storytelling, through explicit scenes of gory violence and vivid descriptions of the same by various characters. Meanwhile, the sparse score by Trent Reznor and Atticus Ross further adds to the brooding atmosphere.

As gruesome as the film is though, it's also disarmingly romantic, with the tone and dialogue becoming positively poetic during its intimate moments. Indeed, despite their faults, Maren and Lee are empathetic characters, due in no small part to the compelling performances from Taylor Russell and Timothée Chalamet. They bring a tenderness and vulnerability as the plot effectively explores the tensions between nature vs nurture.

Ultimately, "Bones and All" achieves an impressive balancing act between terrifying audiences and enchanting them. In fact, it sometimes accomplishes both simultaneously. It's truly a remarkable feat, resulting in one of the year's most stunning pieces of filmmaking.

Tweet

REVIEW: The Fabelmans

When we think of Steven Spielberg, we often exclusively associate him with blockbuster spectacles like "Jaws", "E.T. The Extra Terrestrial" and "Jurassic Park". But some of his best work has come from more grounded efforts like "Lincoln" and "Munich". And after many decades in the business, the 76-year old icon has delivered his most personal work yet in the autobiographical and altogether wonderful drama "The Fabelmans".

Spielberg uses "The Fabelmans" to tell the origin story of his illustrious career through the eyes of his surrogate Sammy Fabelman (Gabriel LaBelle). We meet him in the year 1952, as his close-knit Jewish family is enjoying a night at the movies to watch "The Greatest Show on Earth". At once traumatized and mesmerized by its train crash scene, the experience has a profound effect on the 6-year old. With the seed planted for his newfound obsession, we then follow Sammy as he hones his skills into early adulthood, while dealing with the tensions afflicting his nomadic family and the pains of growing up.

On the surface, "The Fabelmans" seems like a simple coming of ager - or more reductively, an ode to cinema. But in the Spielberg's hands, this is a tale filled with as much movie magic as his more heightened genre films. Throughout the relatively mundane slices of life, his visual language conveys the awe-inspiring wonder of everyday American life. From the kinetic thrill of chasing tornadoes, to the theatre of dinner table conversations, to a particularly memorable fireside dance, Spielberg's once again proves his directorial brilliance. Furthermore, he makes the central tensions like the death of a relative and infidelity feel just as earth-shattering as the doomsday scenarios of his epics.

Indeed, Spielberg's trademark artistry is on full display here. But what further makes "The Fabelmans" so successful is another hallmark of Spielberg's work - its beating heart. Through the humanist screenplay and a brilliant ensemble, the film is tremendously moving. Gabriel LaBelle shows immense promise in the lead role, holding his own alongside a captivating Michelle Williams in a wide-eyed, Judy Garland-esque performance as his mother, who shares his artistic inclinations. And LaBelle shares a different but equally sincere chemistry with Paul Dano in the father role, whose pragmatic engineering interests clash with the mother-son pair. And among the other supporting roles, Judd Hirsch is the epitome of a scene-stealer as Sammy's granduncle.

For any other filmmaker, "The Fabelmans" would serve as a magnum opus to their career. It's a testament to Spielberg's excellence that this is just another masterful addition to his filmography. But it's film that encompasses what makes all of his films so special. As we witness Sammy Fabelman's filmmaking journey, it emphatically reminds us of the joy of making and watching movies. 

Tweet

REVIEW: Top Gun: Maverick

There's no denying we're in a nostalgic era in Hollywood, with sequels and remakes galore flooding the multiplexes. Nowhere is that more evident than the extraordinary box office success of "Top Gun: Maverick". Following thirty years from the original "Top Gun", this sequel unabashedly pays homage to its distinctly 1980s aesthetics and attitude. And in this modern update, director Joseph Kosinski has transformed this new franchise that many would have deemed a "guilty pleasure" into a impressive and rousing cinematic achievement.

"Top Gun: Maverick" reintroduces us to several characters from its predecessor, most notably Pete "Maverick" Mitchell (played with typical confidence by Tom Cruise), a celebrated fighter pilot who is now tasked with testing new aircraft. Though he has never risen up in the ranks due to his insubordination, he is in the twilight of his career, further emphasized by the imminent closure of his current Mach 9 programme in exchange for drones. Determined to prove his worth, Maverick boldly decides to test the limits of himself and his aircraft one more time with a Mach 10 test flight. When the test pushes past Mach 10 and the aircraft is destroyed, Maverick is slated for disciplinary action. But in a twist, he is instead recruited to train the next generation of fighter pilots for a daring mission to destroy an unsanctioned uranium plant on foreign soil.

With vague references to a NATO threat in the mission briefing, the training begins to prepare for the covert attack. Though they aren't nearly as memorable as Cruise's Maverick, the cadre of diverse supporting characters bring a lively dynamic to the film, including the tough, lone woman "Phoenix" (Monica Barbaro), the cocksure "Hangman" (Glen Powell) and the unassuming "Bob" (Lewis Pullman). Most importantly, we also "Rooster", the bitter son of Maverick's late friend "Goose", who brings a emotional connection to the original film and propulsive tension between him and Maverick.

As the film proceeds through the typical banter, training montages and subsequent flight sequences, it borrows liberally from the original, with the familiar strains of the 80s rock score, flashback scenes and photos and yet another gratuitous sequence of playful seaside bonding (this time using football instead of volleyball). But although the screenplay won't win any praise for originality, the filmmaking elevates the basic premise with superlative craftmanship and richer themes. Indeed, the sound design and cinematography - this time taking advantage of IMAX-certified cameras - create a visceral adrenaline rush.

But most significantly, the presence of Tom Cruise himself and his character development adds an extra layer of gravitas. His indefatigable spirit is awe-inspiring and his character's ethos - bringing the team home safely is just as crucial as completing the mission - instills a poignant undercurrent to the juvenile brouhaha of hypermasculinity. Additionally, there's a romance subplot involving the luminous Jennifer Connolly that's at once moving in its maturity and downright cool in its motorbike-riding and sailboating swagger. All of these elements combine to result in the ultimate triumph of "Top Gun: Maverick" - it's so damn fun to watch.

Tweet

REVIEW: Joyland

The 2022 film year delivered numerous discoveries from across the world. One of the most exciting new filmmakers came not from the global north, however, but the burgeoning film industry of Pakistan. In his feature debut, Saim Sadiq delivers a true gem with "Joyland", a powerful story about family, identity and sexuality within the confines of a conservative society.

We enter this world through the eyes of Haider (Ali Junejo), a humble young man living in an extended household that includes his wife, brother, sister-in-law and their four granddaughters. Presiding over the family is his disapproving father, who pressures Haider to have his own child and exert his masculinity by finding a job. Though Haider and Mumtaz are comfortable in their arrangement - he takes care of the domestic chores while she works in a salon - their situation will soon change when Haider finds work as a backup dancer in an erotic dance theater. Though he is no natural dancer, he is determined to succeed, motivated by his attraction to one of the main performers - a transgender woman named Biba (Alina Khan).

Soon a love triangle forms between the three central characters, causing expected tensions in Haider's marriage. But far from the melodrama this promises, Sadiq uses the conflict to explore each character's inner life and the nature of their relationships with each other. Junejo carries the film brilliantly on his slight shoulders, conveying his gentle arc of self-discovery and self actualization. Meanwhile, Farooq is a marvel as Mumtaz, delivering a performance of incredible nuance as her character becomes increasingly disillusioned with the trajectory of her life. And Khan also shines in her role, showcasing versatility through her vivacious dance scenes and more tender private moments. Altogether, their chemistry with each other feels effortlessly sincere, conveying intimacy not through sex and physical touch but honest dialogue and vulnerability.

Indeed, thanks to the rich screenplay and the terrific performances, each character feels fully developed and realized. Even a few minor characters are gifted revelatory scenes that add further layers to the story. Furthermore, Sadiq proves to be a talented visual storyteller too, with abundant metaphors both obvious (e.g. a larger-than-life cutout of Biba that disrupts a drab city) and subtle (e.g. framing actors in windows, mirrors and doors to suggest a sense of captivity).

As the film lays its characters bare and exposes the ills of a transphobic and patriarchal society, "Joyland" resonates with its empathetic humanism. This confident and accomplished debut deserves to be seen by wider audiences. And I can't wait to see what Saim Sadiq does next.

Tweet