REVIEW: The Lost Daughter

Picture it: a rustic Greek hotel by the seaside with the warm rays of sunlight caressing her skin and the soothing sounds of waves gently kissing the shore. You can hardly find a better place to unwind and escape from the stresses of everyday life. But as anyone who's been on holiday can attest, it doesn't take much to be suddenly reminded of what you've left behind, whether it be work obligations, a relationship or even the "crushing responsibility" of motherhood, as described by the fascinating protagonist Leda Caruso in Maggie Gyllenhaal's "The Lost Daughter".

Leda is portrayed brilliantly by Olivia Colman as a middle-aged professor who gets an unpleasant wake up call during her dream vacation in Greece. Not long after settling in to soak up the sun on the beach following check-in, she is greeted by a lively family of Italian-Americans. Among them is a young mother named Nina (Dakota Johnson) and her typically energetic young child. As she watches from afar, Leda becomes fascinated with Nina, who struggles to keep her daughter in line. Instantly, it brings back memories of her own challenges as a young mother to two girls, which significantly shaped her life. After the pair are introduced, Leda's interest in Nina turns dangerous, however, when she commits an inexplicable act of theft.

Leda's present-day theft is just the latest in a series of questionable decisions throughout her life, as seen in flashbacks to her younger self (played by Jessie Buckley). Tapping into the familiar daily struggles of parenting, Gyllenhaal's assured direction and Buckley's skilled performance authentically conveys these domestic scenes filled the grating soundtrack and physical labor of attention-demanding, crying children. Contrasted with the more jovial scenes of Caruso's more professional pursuits and social interactions, the film viscerally demonstrates the loss of self that can come with motherhood.

As the older Leda reveals later in the film, she is an unnatural mother. And while "The Lost Daughter" doesn't quite forgive her selfishness and neglect, Buckley and Colman expertly humanize the character under Gyllenhaal's sympathetic female gaze. The pair may not resemble each other, but they share a penchant for fully embodying flawed woman with unvarnished sharpness and specificity. Likewise, Dakota Johnson is perfectly alluring as Nina, utilizing her intense stare to disarming effect. And among the male cast, Colman's interactions with Ed Harris as her welcoming host and Paul Mescal as a charming hotel worker bring out a softer side to her prickly shell.

Indeed, the rich performances and honest screenplay generate remarkable empathy for an abrasive character. You may even find yourself being amused by and identifying with this objectively "bad" mother with low-key "Karen" tendencies. If you ask me, this accomplishment speaks to the minor miracle that is Maggie Gyllenhaal's "The Lost Daughter".

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REVIEW: The Worst Person in the World

Being young today is different. So says a middle-aged woman to the rapidly approaching 30-year old protagonist Julie (Renate Reinsve) at a casual backyard gathering. In the context of this situation, this is a throwaway comment about the complexities and distractions of the digital age. But on a third watch of Joachim Trier's "The Worst Person in the World", it resonates a prescient thesis statement for the deeply relatable character study that subsequently unfolds.

Indeed, Julie is instantly recognizable as a modern young woman, prone to changing her life trajectory as easily as she changes her hairstyle. When we meet her, she is studying medicine before subsequently dabbling in psychology and then photography. Unsure of her career path, it's hardly surprising that her love life is equally insecure. After striking up a relationship with an older comic artist named Aksel (Anders Danielsen Lie), they quickly realize that they are at contrasting stages of life, particularly when it comes to Julie's hesitancy towards motherhood. As they work through their differences, however, Julie's life is further complicated when she becomes fascinated with another man (played by Herbert Nordrum) with a more carefree disposition.

While the plot outline may suggest otherwise, Trier and Vogt's screenplay pays no heed to the tired tropes of the manic pixie dream girl archetype. Fiercely independent, intelligent and more than a little self-serving, Julie is a fully realized character with a lot on her mind. Indeed, much of the film is reserved for contemplative moments which invite the audience to interpret her myriad inner thoughts expressed through her endlessly searching eyes. Reinsve is truly radiant in the role.

As Julie vivaciously moves through life, the filmmaking is equally dynamic, nimbly moving through the defined chapters as fluidly as its protagonist. Transitioning through extremes of comedy, drama and romance, Trier balances the tonal shifts brilliantly with the aid of the expressive music, moving performances and a perceptive screenplay. Composer Ola Fløttum's score alternately conveys the sweetness of a fairytale, the melancholy of a serious drama and the exuberant energy of a comedy through her up-tempo needle drops and simply expressive melodies. Meanwhile, Reinsve is perfectly matched with her on screen partners. Danielson Lie in especially amazing, as he is grounded and present in every scene, providing the perfect foil for Julie's restlessness. He injects crucial wisdom and gravitas to counter the film's equally necessary humor afforded by Reinsve's playfulness and the narrative's intermittent flights of fancy.

Indeed, some viewers may find Aksel to be the most likable and sensible character in the film. Indeed his traditional views on adulthood are reminiscent of conversations with my parents. But while her unfocused attitude may frustrate some, Trier's keen understanding of her perspective generates empathy for her outlook. Few films are as astute about the dual blessing and curse of the endless possibilities afforded today's millenials. As such, "The Worst Person in the World" feels like an instant touchstone of cinematic stories about my generation.

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REVIEW: Pig

With a recent filmography that includes such pulpy genre fare as "Mandy" and "Bad Lietenant: Port of Call New Orleans" it's safe to say that Nicolas Cage's reputation for starring in b-movies precedes him. When the trailer premiered for Michael Sarnoski's "Pig" was first released therefore, it drew immediate comparisons to the avenging, animal-loving "John Wick" franchise. But while the basic premise may bear similarities, "Pig" is an altogether different beast, cutting deeper for a more understated and moving drama about loss.

Indeed, "Pig" begins far from the urban jungle of John Wick's New York, where retired chef Robin Feld lives in the woods of Oregon with his trusty truffle pig. Living a simple life enjoying his favorite home-cooked meals with his animal companion, the rare human interaction comes from weekly visits from Amir (Alex Wolff), a young businessman to whom he supplies truffles for the city's restaurant industry. Their cordial arrangement is upended one night, however, when thieves kick down Robin's door and steal his beloved pig. Determined to recover her, Robin is forced to return to the urban world he left behind, uncovering a dangerous and intricate underground network of dealers fueled by greed.

The cliche follow-up to this setup would be that our grizzled protagonist will do "whatever it takes" to get his pig back. And indeed, Feld does find himself in a "dog eat dog" world. But Sarnoski throws the first of many surprises as Feld quickly reveals a more subdued approach to his mission. Even as he teases the imposing threat of the film's assortment of unscrupulous characters, the violence is kept to a minimum. As such, "Pig" is an anti-action movie of sorts.

Instead, the film finds its rhythm in more existential concerns about the fleeting, precious nature of genuine human connections and the life-affirming memories which accompany them. From lovingly cooked meals, to the characters' favorite songs, the film embraces a sentimentality that beautifully counters the gritty tensions underlying capitalist greed. And through this approach, he peels back the layers of these characters like onions. Most impressively, it allows Nicholas Cage to showcase his range, as he portrays the nuanced dramatic thespian and impulsive tough guy with equal aplomb. 

Indeed, Cage's melancholic chef sets a tone that brilliantly juxtaposes tenderness and worldly rigor, cooking up the right recipe for one of the most rewarding films of the year. "Pig" truly subverts expectations at every turn, with its bleak visual aesthetic and premise masking a deeply humane film. I look forward to whatever Michael Sarnoski does next.

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REVIEW: The French Dispatch

With the onslaught of prestige films flooding our screens at this time of year - and for film critics, our physical and digital mailboxes - it can be both an underwhelming an overwhelming period. Amid the conventional biopics and serious dramas, however, there are still exciting, bold creations that rise to the top. One such example is "The French Dispatch", the latest delightful curio from the singular mind of Wes Anderson. 

After his previous rendezvous in Japan ("Isle of Dogs") and the fictional Zubrowka ("The Grand Budapest Hotel"), Anderson continues his international tour with an anthology film set around the publication of the Liberty Kansas Evening Sun in the fictional French city of Ennui-sur-Blasé. In the aftermath of its editor's death, the magazine's next issue will be its last, as stipulated by its editor's will. To signify the occasion, a collection of past articles are to be republished. 

In the first article, a reporter (Owen Wilson) gives the lay of the land via bicycle as he gives a tour of the past and present of Ennui-sur-Blasé. In the next, an imprisoned man (Benicio del Toro) becomes a world-renowned painter after being inspired by his affection for a beautiful prison officer (Léa Seydoux). The subsequent story involves a misguided student protest that attracts international attention. And in the final story, a journalist (Jeffrey Wright) recalls how a special dinner with the police Commissaire (Mathieu Amalric) is interrupted when his son is kidnapped. 

As is his trademark, Anderson employs an impressive ensemble to play out his quirky visions. And once again, his troupe is up to the task with memorable performances from Benicio del Toro, Lea Seydoux, Frances McDormand, Timothee Chalamet, Jeffrey Wright and more. Each actor is completely keyed in to his unique aesthetic of droll comedy and loquacious line delivery.

Indeed, the dialogue comes at you fast and the plotting even faster, as Anderson gleefully revisits some of his favourite tropes and character archetypes, including madcap chase scenes and precocious children. Yet despite the zany happenings, he keeps the storylines grounded in genuine human emotions, particularly those of love, best exemplified in the unlikely romances which fuel the stories of "The Concrete Masterpiece" and "Revisions to a Manifesto". 

Even if you don't warm to the oddball pretensions of the literal storytelling, there's much to appreciate in Anderson's dynamic visual storytelling. From animation, to exquisitely symmetrical compositions, to charming black and white tableaux, there's so much to take in that it begs repeat viewings. Indeed, amid the mostly unadventurous visual language of most cinematic fare, "The French Dispatch" truly feels like a full feast after a period of starvation.

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REVIEW: In The Heights

Long before "Hamilton" become a Broadway phenomenon, multi-hyphenate Lin-Manuel Miranda began his theater career with a contemporary musical by the name of "In the Heights". That production went on to win the Tony for Best Musical and the rest, as they say, is history. Fast forward to 2021 and that debut musical is now a splashy feature film directed by Jon M. Chu and written by Quiara Alegría Hudes. But although Miranda takes a more backseat role in this adaptation, his imprint is all over this rousing story about Latin pride.

"In the Heights" derives its title from the neighborhood of Washington Heights in New York City. It is home to a primarily Dominican population, including Usnavi de la Vega (Anthony Ramos), the owner of a local bodega. Like many in his community, Usnavi longs for a better life. But while others have their eyes set on the American Dream, he is determined to return to his native Dominican Republic and revive his father's seaside business. As the time draws near, Usnavi enjoys an eventful summer, filled with romance, dancing, precious moments with family and friends and a blackout for good measure. At the end of it all, Usnavi comes to realize the immeasurable value of what he would be leaving behind.

Indeed, the vibrancy of the Washington Heights community shines through in "In The Heights" as Chu delivers the best of both worlds (i.e. theater and film). From a visual perspective, the film features radiant cinematography enlivened by immersive camerawork that weaves in, out and around the talented ensemble. Furthermore, visual effects wizardry is imaginatively used to express the inner desires of the various characters. Meanwhile, Miranda's trademark musicality is evident through catchy songs and inspired choreography that honors its Latin roots.

"In the Heights" is truly a festive experience, with Anthony Ramos leading the way with his innate star power. In fact, the entire ensemble is impressive, with each major character getting their time in the sun. Audiences will surely relish the warmth of Olga Merediz as the community's matriarch, Corey Hawkins' silky-smooth voice in the role of Benny and the indefatigable spirit of Daphne Rubin-Vega's Daniela. 

The film is more than just a big "carnaval del barrio" (as referenced in one show-stopping number) however. It also examines the struggles of Latin immigrants in achieving their potential, especially those who are undocumented. In doing so, "In The Heights' is ultimately a film about perspective, pitting its characters against each other in an ideological tug of war between those who see the metaphorical glass as half full or half empty. In the end, there's no denying that the filmmakers stand firmly on the side of optimism. And through their efforts and the entire creative team, "In the Heights" triumphs as the feel-good movie of the year so far.

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REVIEW: Billie Eilish: The World's a Little Blurry

In one particularly noteworthy scene in R.J. Cutler's revelatory documentary "Billie Eilish: The World's a Little Blurry", a roundtable of journalists interview the film's titular wunderkind about her craft. When they comment on the dark undertones of her music, she replies "I'm never feeling happy so why would I write about things I don't know about?" Eilish's response is hardly surprising for anyone familiar with the stylistic choices surrounding her music, fashion and overall persona. But throughout this impressive 2 hours 20 minute journey through her blossoming career thus far, Cutler deftly reveals far more than what is immediately perceptible from her carefully curated public image.

The film opens with Eilish explaining the source of her creativity, acknowledging the great influence of her artistically minded parents' who guided her and her brother to explore their musical interests. This proves to be an ideal starting point, as the parental duo - Maggie Baird and Patrick O'Connell - are shown to be a grounding, supportive presence as Eilish lives out her dreams on the road and in the studio. As she experiences highs and lows on her journey to historic multi-Grammy winning success, "Billie Eilish: The World's a Little Blurry" unveils a fascinating cinematic portrait of an extraordinary young woman.

Indeed, if you weren't a fan before, "Billie Eilish: The World's a Little Blurry" should surely pique your interest. The film's intimacy gives us an up close and personal look at her creative process (primarily with her producer brother in the humble confines of her own childhood home and bedroom) and the incredible impact of her music on fans worldwide. As with many similarly famous artists, the pressure is evidently overwhelming, exacerbated by the increased visibility and scrutiny of social media. 

In addition to Cutler's discerning direction, "Billie Eilish: The World's a Little Blurry" also benefits from Eilish's own candid honesty about her inner feelings and outlook. Through her revealing interviews, the film stands out as a truly contemporary work, exploring her concerns surrounding ever-changing political correctness and the associated fears of disappointing her fans in the future. As she expresses these and other feelings of insecurity and self-doubt - verbally and through her body language - the film captures the vulnerabilities that inform the more depressive aspects of her personality.

During the aforementioned journalist roundtable hints towards her experiences with depression and suicidal thoughts. But while Eilish claims that she's "never happy", Cutler paints a more complex picture of this uncommonly self-possessed teenager. From her exuberant on-stage performances, to her heartwarming adoration of Justin Bieber, to her obvious passion for life, friends and music, there's a beautifully humanizing quality to this biographical documentary. In showcasing Billie Eilish's talent and the many facets of her character, it's the type of illuminating music documentary that I would highly recommend.

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Top 10 TV Programs of 2020-2021

Is it film, TV or something else entirely? This ongoing debate reached a fever pitch in the past year, as streamed content continued to blur the lines of the various filmed mediums. Indeed, the most recent awards season saw programs like "Hamilton" and "Small Axe" earn recognition within film and TV circles alike. As I reflect on my own personal favorites of this Emmy cycle, my picks similarly reflected this evolution of television as we once knew it. Whether you agree that they fit the rightful definition of TV, there's no denying that they provided satisfying entertainment from the comfort of our quarantined homes. Here are my Top 10 TV Programs of 2020-2021:

1. Hamilton (Disney+)
2. David Byrne's American Utopia (HBO)

3. I May Destroy You (HBO)

4. Small Axe (Amazon Prime Video)

5. Mare of Easttown (HBO)

6. Black Is King (Disney+)

7. P-Valley (Starz)

8. The Underground Railroad (Amazon Prime Video)

9. WandaVision (Disney+)

10. The Crown (Netflix)

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Top 10 Acting Performances of 2020-2021 TV

If there was still any doubt that "the small screen" is delivering some of the greatest performances across all content platforms, then this year's TV actors should put that debate to rest. From Black freedom fighters in Britain, to abuse survivors dealing with trauma, these performers knocked it out of the park. With such an embarrassment of riches, some of these incredible thespians will inevitably be snubbed by Emmy voters. But they'll always hold a special place in my heart. Here are my picks for the Top 10 TV Performances of the 2020-2021 TV Season:

1. Shaun Parkes, Small Axe 

2. Michaela Coel, I May Destroy You 

3. Letitia Wright, Small Axe 

4. Ethan Hawke, The Good Lord Bird 

5. Kate Winslet, Mare of Easttown 

6. Paapa Essiedu, I May Destroy You 

7. Elisabeth Moss, The Handmaid's Tale 

8. Kaley Cuoco, The Flight Attendant 

9. Gillian Anderson, The Crown 

10. Weruche Opia, I May Destroy You

Honorable Mention: The cast of Hamilton

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AWARDS ROUNDUP: Oscar, Indie Spirit, BAFTA & SAG Winners

OSCARS

Best Picture: Nomadland

Best Director: Chloe Zhao, Nomadland

Best Actor: Anthony Hopkins, The Father

Best Actress: Frances McDormand, Nomadland

Best Supporting Actor: Daniel Kaluuya, Judas and the Black Messiah

Best Supporting Actress: Youn Yuh-jung, Minari

Full list at Awards Radar

INDIE SPIRITS

Best Feature: Nomadland

Best Director: Chloé Zhao, Nomadland

Best Female Lead: Carey Mulligan, Promising Young Woman

Best Male Lead: Riz Ahmed, Sound of Metal

Best Supporting Female: Yuh-jung Youn, Minari

Best Supporting Male: Paul Raci, Sound of Metal

Full list at Awards Radar

BAFTAS

Best Film: Nomadland

Best Director: Chloe Zhao, Nomadland

Best Actor: Anthony Hopkins, The Father

Best Actress: Frances McDormand, Nomadland

Best Supporting Actor: Daniel Kaluuya, Judas and the Black Messiah

Best Supporting Actress: Youn Yuh-jung, Minari

Full list at Awards Radar

SAG

BEST CAST: The Trial of the Chicago 7

BEST ACTOR: Chadwick Boseman, Ma Rainey's Black Bottom

BEST ACTRESS: Viola Davis, Ma Rainey's Black Bottom

BEST SUPPORTING ACTOR: Daniel Kaluuya, Judas and the Black Messiah

BEST SUPPORTING ACTRESS: Youn Yuh-Jung, Minari

Full list at Awards Radar

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AWARDS ROUNDUP: AAFCA, Critics Choice & Golden Globe Winners

 

AAFCA

Best Picture: Judas and the Black Messiah

Best Director: Regina King, One Night In Miami

Best Actor: Chadwick Boseman, Ma Rainey's Black Bottom 

Best Actress: Andra Day, The United States vs. Billie Holiday

Best Supporting Actor: Daniel Kaluuya, Judas and the Black Messiah

Best Supporting Actress: Dominique Fishback, Judas and the Black Messiah 

Best Screenplay: Kemp Powers, One Night in Miami

Best Ensemble: One Night In Miami

Best Foreign Film: Night of the Kings

Best Documentary: All In: The Fight For Democracy 

Best Animation: Soul 

Breakout Performance: Radha Blank

Breakout Director: Shaka King

Critics Choice

BEST PICTURE: Nomadland 

BEST DIRECTOR: Chloé Zhao – Nomadland  

BEST ACTOR: Chadwick Boseman – Ma Rainey’s Black Bottom

BEST ACTRESS: Carey Mulligan – Promising Young Woman

BEST SUPPORTING ACTOR: Daniel Kaluuya – Judas and the Black Messiah 

BEST SUPPORTING ACTRESS: Maria Bakalova – Borat Subsequent Moviefilm 

Full list at Awards Radar

Golden Globe

BEST PICTURE - DRAMA: Nomadland

BEST PICTURE - COMEDY/MUSICAL: Borat Subsequent Moviefilm

BEST DIRECTOR: Chloe Zhao, Nomadland

BEST ACTOR - DRAMA: Chadwick Boseman, Ma Rainey's Black Bottom

BEST ACTRESS - DRAMA: Andra Day, United States vs Billie Holliday

BEST ACTOR - COMEDY/MUSICAL: Sacha Baron Cohen, Borat Subsequent Moviefilm

BEST ACTRESS - COMEDY/MUSICAL: Rosamund Pike, I Care A Lot

BEST SUPPORTING ACTOR: Daniel Kaluuya, Judas and the Black Messiah

BEST SUPPORTING ACTRESS: Jodie Foster, The Mauritanian

Full list at Awards Radar

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