REVIEW: The Heiresses

When we first meet Chela, the protagonist in Marcelo Martinessi’s debut feature “The Heiresses“, she seems to have her life under control. She is lounging in her handsomely appointed home with her partner Chiquita, as they get ready to attend their friend Carmela’s 50th birthday party. Following this relaxed evening of music and socializing, however, their private conversations, reveal that everything isn’t quite as it seems.

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REVIEW: No Date, No Signature

“No Date, No Signature” begins on a regular night for its central character Dr. Nariman (played by Amir Aghaee). Driving down quiet Iranian streets after a day’s work as a forensic pathologist, he expects a peaceful rest ahead. But fate has other plans for him as a seemingly minor collision has serious repercussions in this powerful drama from director Vahid Jalilvand.

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REVIEW: Five Fingers for Marseilles

With its expansive, sun-kissed plains and awe-inspiring mountain ranges, South Africa provides the perfect backdrop for Western films. But while international productions like “The Salvation” have taken advantage of the setting, the genre has been effectively unexplored by homegrown South African filmmakers. That vacuum is now being temporarily filled, however, by Michael Matthews’ debut feature “Five Fingers for Marseilles“. Paying homage to the time-honored traditions of the genre, this is a quintessential Western albeit with an appealing South African makeover.

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REVIEW: John McEnroe: In the Realm of Perfection

Restrained, respectful, sedate. Those are hardly words you’d use to describe the notoriously rambunctious tennis legend John McEnroe. But such is the surprising approach taken toward this outsized personality in the Julien Faraut documentary “John McEnroe: In the Realm of Perfection“.

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10 Best Asian Films Since 2008

As the eagerly anticipated “Crazy Rich Asians” arrives in theaters this week, one of the most underrepresented minority groups will get a rare chance to shine in a major Hollywood production. While we wait for Hollywood to catch up to the world, with this long overdue cultural moment, it’s worth reflecting on the success of native Asian filmmakers. Indeed, the well-established film industries across the Asian continent have produced filmmakers and movie stars to rival any Hollywood A-lister. And with the vast array of socioeconomic and cultural contexts of the various countries, Asian cinema is a buffet of cinematic delights. From the dazzling spectacles of India’s Bollywood cinema to the consistently edgy works from South Korean directors, there’s something for everyone.

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OSCAR WATCH: Eighth Grade

If you're anything like me, your middle/high school years were a trying time that you've long forgotten. The experience of watching Bo Burnham's debut feature "Eighth Grade" could therefore give you a feeling of déjà vu. This chronicle of an eight grader's life may not reflect your exact experience, but Burnham knowingly captures the essence of those anxiety-ridden years.

"Eighth Grade" is the story of a girl named Kayla. Like many kids her age, she has an active life on social media, even producing and starring in her own YouTube vlog. But her everyday life is a different situation altogether, with her school even naming her Most Quiet at a year-ending awards ceremony. Determined to shirk this label before she enters high school, sets forth to break out of her shell and make new friends. A tumultuous week awaits her, however, which will forever shape the person she aspires to be.

Elsie's journey of self discovery will surely be familiar to anyone who has dealt with the pressures of fitting in. Capturing all the awkwardness and insecurities of adolescence in painstaking detail, some scenes will surely have you cringing and peeking through a covered face. Burnham is so attuned to Kayla's perspective that every embarrassing moment or burst of joy is viscerally felt.

Speaking of Kayla's perspective, Elsie Fisher is the main reason why the character is so affecting. Delivering the year's most precious performance, her fumbling speech and eager energy feels absolutely genuine. Despite her young age, Fisher would not feel out of place in the Best Actress conversation at the Oscars.

While the film is primarily a showcase for Fisher, first timer Bo Burnham also shows tremendous talent with some brilliant directorial flourishes. Indeed, each major event is often introduced in slow motion with intense musical fanfare, signalling the emotional highs and lows which accompany them. With this ingenious touch, Burnham effectively conveys the extreme "best day ever" or "end of the world" feelings associated with pivotal social interactions.

Of course, going to a pool party or hanging out with friends may seem trivial in hindsight, but "Eighth Grade" also shows how formative these interactions can be. While the protagonist's endearing awkwardness mostly elicits hysterical laughter or relatable pathos, there are also some horrifying moments which remind us how our toxic gender dynamics and sexual politics are established at such a young age. Underneath Kayla's eager attitude is an unfortunate desperation to impress the opposite sex that is frustrating yet all too familiar.

As such, the film will resonate with audiences young and old (including Academy members, as it makes a strong case for Best Picture and Best Original Screenplay). Through her, we remember the people we used to be and the importance of those early relationships, whether it be with an encouraging father - a crucial but underwritten character - or the sincere support of a good friend. On the latter note, the film saves the best for last with a scene so sweet that it brought tears to my eyes. It's a heartwarming reminder that with the right people in your corner, everything's gonna be alright.

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OSCAR WATCH: Leave No Trace

We've often been taught that our basic needs are food, water, clothing and shelter. But modern society often takes a step further, dictating the acceptable forms of food and the notion of a proper home. Those who live outside these norms of "civilized" society are often shunned, much like the father-daughter protagonists of "Leave No Trace", which sees Debra Granik returning to the survivalist themes of "Winter's Bone" to deliver another moving Oscar contender for Best Picture.

Indeed, Tom and her father Will hardly fit the common ideal of an American household. While they occasionally visit the city to gather supplies, they spend most of their time as squatters in a public park in Oregon. Having long settled into their way of life in the woods, they have found happiness, with no desire to move. But one day, their secret existence is revealed to the authorities, forcing them to leave their home forever. Soon, they are put into the care of social services and given a traditional home. Knowing that their lives will never be the same, they try to settle into their new environment. But as time goes by, father and daughter have divergent views as to whether this change is for the better.

In the spirit of full disclosure, I must admit that I tend to preemptively balk at these kinds of narratives about people who choose to rough it in the wilderness. With my academic background in environmental studies, I understand the environmental benefits and I've met numerous fine people who aspire to some version of this way of life. Yet I still involuntarily roll my eyes at people who reject the basic conveniences designed to keep us safe and improve our lives.

Thankfully, "Leave No Trace" quickly relieved me of my skepticism, thanks to the honesty that Granik and co-writer Anne Rosellini bring to the direction and screenplay. Whereas films like "Captain Fantastic" expressed a condescending viewpoint of primitive lifestyles as being more respectable, "Leave No Trace" gives a much more nuanced portrayal. Instead of sanctimonious monologues about the virtues of simple living, Granik explores this outlook through the beautiful relationship between a troubled widower and his daughter.

Having previously depended on each other to survive, a fascinating conflict arises through Tom's coming of age following the upheaval of their lives. Expressed with a tender-hearted spirit by Thomasin McKenzie, Tom's curiosity brings forth poignant revelations about this seemingly unbreakable father-daughter bond. Meanwhile, Ben Foster brings depth to a character who plays it close to the chest. Though the film doesn't fully get to the bottom of his pain, it's all there in Foster's wounded, careful performance. And through his character, the film is touchingly honest in acknowledging that some traumas can't be overcome. He may not verbally express it like Casey Affleck's devastating "I can't beat it" in "Manchester by the Sea", but no words are needed when there's a shot as plaintive and eloquent as the one which ends this gracefully crafted film.

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OSCAR WATCH: Black Panther

When Ryan Coogler's "Black Panther" released on February 16 this year, few could have predicted the cultural juggernaut it would become. 7 months later, it still sits comfortably atop the year's box office and critics' charts, a position it will likely hold for the rest of 2018. With this level of success, it's unsurprising that the blockbuster became embroiled in a debate over the validity of the Academy's hastily announced new category for Best Popular Film. Thankfully, that ill-advised idea was subsequently scrapped, allowing Disney to refocus its awards campaign strategy to once again take aim at the Best Picture race. Of course, the ongoing fall festival circuit is providing many other alternatives. Therefore, I felt it would be an appropriate to reassess the film's merits.

"Black Panther" takes place in the fictional African nation of Wakanda, a prosperous nation untainted by the colonial exploitation. Thanks to an omnipotent mineral called vibranium, its people have experienced considerable wealth and technical advancements which have allowed them to stay hidden from the rest of the world. Sustaining that level of independence and affluence is the primary concern of its heir apparent T'Challa, destined to ascend the throne following the untimely death of his father. But Wakanda's secret is under serious threat, as outsiders plot to harness the vibranium for nefarious means. With his nation under attack, T'Challa must call upon his allies and his own powers - obtained by a heart-shaped herb - to defeat these infiltrators and protect his people.

T'Challa's story has been a long time coming, as one of the newest members of the wildly popular superhero team called the Avengers to make the big screen. And to our relief, the resulting film was worth the wait. Delivering action-packed entertainment with a potent undercurrent of black power and struggle, "Black Panther" elevated the Marvel Cinematic Universe to new heights of sociocultural relevance.

Indeed, the film's "blackness" plays a large role in the film's success. Directed by Ryan Coogler in only his third outing as a director, the film is the rare Marvel film that feels driven by a distinct voice. Blending the poignant social commentary of his debut "Fruitvale Station" with the big-budget showmanship of "Creed", this film is the natural progression for his ascendant filmography. Like both of those films, "Black Panther" puts black faces front and center, showcasing both their inherited trauma and resilient glory.

What makes "Black Panther" so special is the way it addresses a topic rarely explored in cinema before. Namely, the diasporic tensions between Africans and African-Americans. In that regard, the film introduces a compelling villain in the form of Erik Killomger (played with dangerous swagger by Coogler's muse Michael B. Jordan). His resentment of Wakanda's self-serving apathy towards the struggle of their African diaspora makes him an empathetic figure, despite his bloodthirsty mentality.

While Killmonger's morally complex philosophy and intense conviction may garner Oscar attention for Best Adapted Screenplay and Best Supporting Actor, it is actually this aspect that forms the source of my only critique against the film. Understandably, the film ultimately plays it safe in putting Killmonger's revolutionary plan in motion. As such, it left me wishing Marvel had taken a bolder narrative risk, which they actually did in Avengers Infinity War two months later.

Nevertheless, Coogler more than makes up for it with the exhilarating spectacle of the filmmaking, so richly infused with the aforementioned elements of "blackness". From the thumping hip-hop beats of the soundtrack, to the real-word parralels of its Pan-African plot, to the dazzling production design and costumes, the meticulous world-building is truly a sight to behold. And for pure thrills, its Busan-set action setpiece is easily one of the most impressive of the year. Oscar nods for Best Director, Best Costume Design, Best Makeup & Hairstyling, Best Production Design, Best Sound Editing and Best Sound Mixing would be well deserved.

As the long awards season progresses, it's quite possible that Academy voters may ultimately dismiss "Black Panther" as just another Marvel movie. But if you place close attention, you'll realize that the film stands out on its own, offering a complete story that challenges as much as it entertains. Maybe the superhero glut at the cinemas isn't so bad after all.

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OSCAR WATCH: BlacKkKlansman

Three decades ago, we watched as Mookie threw a trash can through the window of Sal's Pizzeria in "Do the Right Thing". It was Spike Lee's 3rd feature film and it became one of the most talked about and defining moments in the film and in some regards, Lee's career as a whole. Many years later, audiences are still split as to whether, to use the film's own title, Mookie did the right thing. But whichever side you landed on, this scene of heightened racial tensions established Lee as a filmmaker unafraid to confront the unsavory legacy of America's checkered past.

Fast forward to 2018 and I couldn't help but think of "Do the Right Thing" as another character breaks a window in his latest film "BlacKkKlansman". In this scene, the men involved are a black detective named Ron Stallworth and his Jewish partner Flip Zimmerman, who is being interrogated by a vehemently racist member of the Ku Klux Klan. The detectives are working undercover on a daring mission to infiltrate the KKK, with Stallworth impersonating a white-sounding man over the phone, who is presented as Zimmerman in the field. With their true identities under threat of being revealed, the scene sees Stallworth breaking a window to dissipate the tension. But this won't be the only nerve-wracking moment in the film, as the men put their lives in danger in a race against the clock to stop the KKK's next terrorist attack.

The inherent miracle of the story and the protagonists' bravery are indeed what makes "BlacKkKlansman" compelling. The script - a surefire Oscar contender for Best Adapted Screenplay - effectively balances some anxiety-inducing close calls with frequent humorous scenes inspired by the sheer audacity of the mission and the narrow-minded psychology of the antagonists. As such, it functions as both an amusing satire and a stirring period piece (with all the cool threads and afros to match).

Dealing with such sensitive subject matter as the notoriously evil KKK is a risky gamble and admittedly, Lee does falter with a few excessively comic moments. Thankfully, John David Washington's confident performance always keeps the film afloat. Displaying much of his father Denzel's charisma, he could potentially follow in his footsteps as an Oscar nominee for Best Actor. Furthermore, Adam Driver should be in the discussion for Best Supporting Actor, as his character adds thought-provoking dimensions to the film. His reckoning with this Jewish identity is one of the film's highlights.

Overall, "BlacKkKlansman" represents one of Lee's most restrained directorial efforts. But that's not to say that he's getting soft with age. Indeed, his confrontational voice is unmistakable in the film's prologue and conclusion. The former shows Alec Baldwin spewing propagandist hate speech as a character clearly intended as a parody of Donald Trump. Meanwhile, the closing moments are true masterstroke that will likely seal long overdue Oscar nominations for Best Director and Best Picture.Using sobering real-life footage of the present-day KKK to hit home the film's themes, it proves that Spike Lee remains one of the most essential voices in cinema, sticking it to the man like only he can.

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REVIEW: Hereditary

If there's one movie this year that will have you turning to God in prayer, it won't be a faith-based movie like " but rather Ari
Aster's extraordinarily creepy "Hereditary". With one of the most striking debuts in recent memory, Aster proves to be a new mastermind of the horror genre. Scaring audiences through both supernatural and worldly terrors, it's a film that won't leave your mind any time soon.

"Hereditary" tells the story of a deeply troubled family, made up of a teen son, his younger sister and their parents. At the beginning of the film, the family has just buried the grandmother, a woman who passed on her internalized trauma to her daughter Annie. As the new matriarch of the family, Annie (played by Toni Collette) tries to keep the family strong through this latest tragedy. But forces from within and without threaten to break their already tenuous family bond forever.

When "Hereditary" was released earlier this summer, audiences didn't quite know what to make of it. Despite strong reviews from critics, the film scored a paltry D+ CinemaScore, indicating general audience dissatisfaction. I was therefore genuinely surprised when I finally watched the film and found it to be one of the most effectively terrifying horror films I've ever seen.

Though the marketing promised a standard issue haunting/possession narrative, Aster arrives at that place from a more indirect angle. He brilliantly incorporates the idea of metaphorical inner demons with literal ones and then unleashes them all on this vulnerable family, wreaking havoc on their lives.

Indeed, one early therapy scene is quite telling, as Annie explains the mixed emotions she feels after the death of her estranged mother. Harboring inexplicable guilt and blame for all her misfortunes, it's hardly surprising when we realize the brittle tensions within the intra-family relationships. That underlying malice within the family is viscerally felt, thanks to some go-for-broke, raw performances from the cast.

At the center of it all is Toni Collette, who all but turns herself inside out for her role. As her character endures unimaginable tragedy and inescapable anguish, she is a whirlwind that stirs up her co-stars and brings out the best in them. Most notably, the scenes she shares with Alex Wolff are absolutely searing as they unravel this fraught mother-son relationship.

Even if it didn't have the traditional horror elements of disturbing images and creepy sounds - and contrary to popular belief, this film has more than enough of them - the film's central conceit of the effects of damaged families would be haunting on its own. Indeed, if you can't feel safe around your own family, then where do you run to? I can hardly think of anything more traumatizing.

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