The rom-com is a genre that has been due a refresh for a while now. With the exception of the marvellous The Big Sick last year, I feel like there hasn't been a standout attempt for quite some time. Until now. Crazy Rich Asians is a delight.
Rachel Chu (Constance Wu) is an American-born Chinese professor who travels to her her boyfriend Nick's (Henry Golding) home town of Singapore for his best friends wedding, only to discover that Nick's family are impossibly wealthy. Rachel has to quickly adapt to the exuberant surroundings and the equally exuberant inhabitants, namely Nick's formidable mother Eleanor (Michele Yeoh) who isn't thrilled by their relationship.
This movie is not shy to deliver what it promises. These Asians are crazy rich. Sun-kissed islands, private jets and a mansion that could fit my house 10 times over and still not be full all contribute to the most glamorous backdrop you can imagine. The various parties and the wedding itself are explosions of primary colours. Whether you're coveting the luxuries for yourself or just blown away by the beauty of it all (I was a bit of both), the entire look of the film is enchanting.
Equally as vibrant as the locations are the characters themselves. Wu and Golding are terrific in the lead roles. Rachel is likeable and sympathetic enough that you as an audience will feel just out of place as she does in the hyper-glamourous setting. Golding is particular impressive given that this is his first feature film. He is effortlessly charming and has for my money cemented his place in the conversation for a certain super spy (#GoldingforBond). Elsewhere, the cast is littered with engaging and entertaining performances. The pick of the bunch is Awkwafina, who is just awesome. Her presence on screen is immense and she offers many of the films best laughs. Jon Chu isn't a director that I'd associate with interesting character interactions but he absolutely nails it here, giving all the supporting cast time to make an impact without ever detracting from the two stars.
What's perhaps most impressive is the originality of this film. Sure, it follows all the familiar conventions of a rom-com - and handles them very well - but there's an overall sense of individuality and distinction. It's a celebration of asian culture and heritage, whilst also addressing issues of race-relations and stereotypes in subtle but meaningful ways. No big deal is made of the primarily asian cast, it's just some super talented actors playing good and important roles - exactly the way is should be.
I have to say, I absolutely adored Crazy Rich Asians. It's a perfect mix of both 'rom' and 'com'. You feel exactly what you are supposed to in any given moment. The performances bring a bunch of fantastic characters to live, the setting is just breathtaking and it manages to feel completely original and familiarly comfortable at the same time. It's joyous.
4/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
Sunday 23 September 2018
Thursday 6 September 2018
'Upgrade' Review
I'm a big advocate of the Blumhouse Productions business model. Their strategy of producing individual, low budget horror movies that will more than likely make their money back in the opening weekend has allowed them to avoid many of the pitfalls of modern cinema. Without the concerns of franchising, they are free to focus on original, interesting story telling, of which Upgrade is a prime example.
In a near future that is dominated by machines and gadgetry, technophobe Grey (Logan Marshall-Green) is left quadriplegic in an attack that results in the death of his wife. Overcome by anger and desire for vengeance, Grey agrees to become the host of a powerful microchip, STEM, that will allow him to walk again and deal out some hard justice on those responsible. But regaining movement comes with a high price.
If you've been around the blog for a while, you'll know that I love a dystopian future. Considering the low, low budget of this movie, the world that Leigh Whannell creates is really impressive. We get plenty of world building through applications of new and existing technology. The stunning skylines are contrasted with the grimy city streets. Yet, whilst the world clearly draws from future-noir classics such as Blade Runner, steps are taken to give Upgrade an original feel. Many of the locations on display seem to blend futuristic tech with more natural, organic materials, which gives the film a sense of realism - it's not too far a gap to bridge between our world and this one.
Whilst some of the narrative progression does feel quite formulaic, the action scenes are distinctive and really give this film it's own lease of life. The way the fight scenes are shot is delightful - it feels very much like the camera work in Kingsman, in that the camera is constantly on the move to keep the subjects in frame. Only this feels much colder, more clinical and robotic. Minimal cutting and constantly seeing what's going on allows you to be fully immersed in the action. Whannell also sprinkles flashes of his horror roots in sci-fi/action structure. The whole affair is incredibly gory, including some Mortal Combat esque finishing moves that tread the line between gross and sickly entertaining.
Logan Marshall-Green is really terrific. He's an extremely likeable and sympathetic protagonist. Starting out in a tech-dominated world that he doesn't quite understand (or more importantly doesn't want to understand) and then having to come to terms with arrival of STEM in his body as they tussle for control of their now joint body, Marshall-Green plays these conflicting, internal emotions really well. His interactions with STEM are intriguing, and at times very funny, which prevents the whole movie from feeling too grim and gritty. Though the ending is a real kick in the teeth, even though you'll probably see it coming.
Everything about Upgrade is right up my ally. It's a bizarre amalgamation of genres that I love: sci-fi, brutal action and a Black Mirror style message. The story goes pretty much everywhere you expect that it will. But the action is so enthralling and Marshall-Green is so entertaining that it's hard to mind.
4/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
In a near future that is dominated by machines and gadgetry, technophobe Grey (Logan Marshall-Green) is left quadriplegic in an attack that results in the death of his wife. Overcome by anger and desire for vengeance, Grey agrees to become the host of a powerful microchip, STEM, that will allow him to walk again and deal out some hard justice on those responsible. But regaining movement comes with a high price.
If you've been around the blog for a while, you'll know that I love a dystopian future. Considering the low, low budget of this movie, the world that Leigh Whannell creates is really impressive. We get plenty of world building through applications of new and existing technology. The stunning skylines are contrasted with the grimy city streets. Yet, whilst the world clearly draws from future-noir classics such as Blade Runner, steps are taken to give Upgrade an original feel. Many of the locations on display seem to blend futuristic tech with more natural, organic materials, which gives the film a sense of realism - it's not too far a gap to bridge between our world and this one.
Whilst some of the narrative progression does feel quite formulaic, the action scenes are distinctive and really give this film it's own lease of life. The way the fight scenes are shot is delightful - it feels very much like the camera work in Kingsman, in that the camera is constantly on the move to keep the subjects in frame. Only this feels much colder, more clinical and robotic. Minimal cutting and constantly seeing what's going on allows you to be fully immersed in the action. Whannell also sprinkles flashes of his horror roots in sci-fi/action structure. The whole affair is incredibly gory, including some Mortal Combat esque finishing moves that tread the line between gross and sickly entertaining.
Logan Marshall-Green is really terrific. He's an extremely likeable and sympathetic protagonist. Starting out in a tech-dominated world that he doesn't quite understand (or more importantly doesn't want to understand) and then having to come to terms with arrival of STEM in his body as they tussle for control of their now joint body, Marshall-Green plays these conflicting, internal emotions really well. His interactions with STEM are intriguing, and at times very funny, which prevents the whole movie from feeling too grim and gritty. Though the ending is a real kick in the teeth, even though you'll probably see it coming.
Everything about Upgrade is right up my ally. It's a bizarre amalgamation of genres that I love: sci-fi, brutal action and a Black Mirror style message. The story goes pretty much everywhere you expect that it will. But the action is so enthralling and Marshall-Green is so entertaining that it's hard to mind.
4/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
Sunday 2 September 2018
'BlacKkKlansman' Review
There are few directors who are as consistently passionate as Spike Lee. All of his films/joints present uncomfortable but necessary truths to his audience. BlacKkKlansman might be his most important work yet. It uses a truly remarkable real life story as a figurehead to exploit an darkness that should have been staring us in the face the whole time.
Rookie cop Ron Stallworth (John David Washington), who is the first African American cop in Colorado Springs, applies to enrol in his local Klu Klux Klan chapter. He enlists the help of his colleague Flip (Adam Driver) to pose as himself for face to face interactions as the partners work to expose the organisations.
It seems unthinkable that this film recounts real events. But they are just that. Real. Sometimes painfully so. Yet, the unlikelihood of the story provides the movie with many of it's best laughs. It might seem strange that a film with such a poisonous subject matter should be funny, but the interplay between the police officers, particularly the chemistry between Washington and Driver, and the sheer ridiculousness of some of the Klan members lead to some genuinely funny moments. But don't be fooled. Whilst the bulk of the film is a quick-witted and often hilarious detective story, Lee still has a message to get across.
The true horror of the existence of the KKK is never really absent from the movie, even in the more humorous scenes. There's a general sense of discomfort and uneasiness maintained throughout. The use of clever camera work and dynamic visual story telling is excellent throughout. Shots intentionally linger on distressing imagery, which gives the film real bite. But Lee does an tremendous job of making sure that the two differing tones of the piece not only work together, but compliment each other. Sure, there is fun to be had at the Klan's expense, but that is not the point of this film.
Amazingly, Lee isn't entirely critical of the Klan. There are, of course, certain members of the chapter who are so grotesque they make your skin crawl, but that's only half the story. Ingeniously, Lee also gives us Klan members who are, at least to an observer, normal. Topher Grace in particular does a great job of portraying the 'grand wizard' David Duke. He is a truly disgusting and delusional man, but Grace treads the line well enough that he doesn't come across as insufferable. He is smarmy, but at times slightly charming. This is an especially effective way to presenting the true danger of the KKK. They are not all 'Neo-nazi's', some are seemingly normal people who have been corrupted by the sick and misguided beliefs of those in positions of power. That in it's self is a lot more scary. All this culminates in one of the most effective endings in recent memory, which left my physically sick to my stomach.
This is a really excellent movie, and one of Spike Lee's best. There is so much passion and anger in overall voice of the piece. It's incredibly powerful and a poignant. There is fun to be had within, but mainly it serves as a reminder of the shittier side of humanity and a warning against ignorance to the evils that lurk in our world.
4.5/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
Rookie cop Ron Stallworth (John David Washington), who is the first African American cop in Colorado Springs, applies to enrol in his local Klu Klux Klan chapter. He enlists the help of his colleague Flip (Adam Driver) to pose as himself for face to face interactions as the partners work to expose the organisations.
It seems unthinkable that this film recounts real events. But they are just that. Real. Sometimes painfully so. Yet, the unlikelihood of the story provides the movie with many of it's best laughs. It might seem strange that a film with such a poisonous subject matter should be funny, but the interplay between the police officers, particularly the chemistry between Washington and Driver, and the sheer ridiculousness of some of the Klan members lead to some genuinely funny moments. But don't be fooled. Whilst the bulk of the film is a quick-witted and often hilarious detective story, Lee still has a message to get across.
The true horror of the existence of the KKK is never really absent from the movie, even in the more humorous scenes. There's a general sense of discomfort and uneasiness maintained throughout. The use of clever camera work and dynamic visual story telling is excellent throughout. Shots intentionally linger on distressing imagery, which gives the film real bite. But Lee does an tremendous job of making sure that the two differing tones of the piece not only work together, but compliment each other. Sure, there is fun to be had at the Klan's expense, but that is not the point of this film.
Amazingly, Lee isn't entirely critical of the Klan. There are, of course, certain members of the chapter who are so grotesque they make your skin crawl, but that's only half the story. Ingeniously, Lee also gives us Klan members who are, at least to an observer, normal. Topher Grace in particular does a great job of portraying the 'grand wizard' David Duke. He is a truly disgusting and delusional man, but Grace treads the line well enough that he doesn't come across as insufferable. He is smarmy, but at times slightly charming. This is an especially effective way to presenting the true danger of the KKK. They are not all 'Neo-nazi's', some are seemingly normal people who have been corrupted by the sick and misguided beliefs of those in positions of power. That in it's self is a lot more scary. All this culminates in one of the most effective endings in recent memory, which left my physically sick to my stomach.
This is a really excellent movie, and one of Spike Lee's best. There is so much passion and anger in overall voice of the piece. It's incredibly powerful and a poignant. There is fun to be had within, but mainly it serves as a reminder of the shittier side of humanity and a warning against ignorance to the evils that lurk in our world.
4.5/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
Saturday 1 September 2018
'Christopher Robin' Review
I must admit, I had forgotten about my affection for Winnie the Pooh. That was until I saw the trailer for Christopher Robin and the tender 'Oh bother' of this sweet little bear melted my heart all over again. The appeal of this film really rests on that idea. The movie has it's issues, but it's undeniably charming.
Christopher Robin (McGregor) has long left behind the 100 acre wood and his friends. He has grown up and been made bitter by the mundanity of the real world. But just when it appears that Robin's dead-end job will cost him everything he loves, Winnie, Piglet and the gang decide it's their turn to save Christopher.
This film is just a frothy and warm as you would hope it would be. Catching up with these beloved characters after all this time is a truly joyous experience. Jim Cummings is absolutely tremendous as Winnie the Pooh, and whilst the overall story might be Christopher's, this is very much his movie.
It feels strange to call a stuffed bear nuanced, but he is the perfect blend of melancholic and cheerful. All the creatures are recaptured perfectly, whether it's Piglet's timidness, Tigger's brashness or Eyeore's general distaste to everything he encounters. Whilst there are call-backs to the original books and movies - the prologue is largely told through classic illustrations - it really does feel like these characters have been given a new lease of life and spring in their steps.
Winnie's co-stars are also on great from. Ewan McGregor is really terrific in this film. His performance is made all the more impressive by the fact that most of his scenes are playing off of nothing (or a man in a suit covered in ping pong balls) and he balances the stiffness of an older, wearier Christopher Robin and the inherent silliness of the situation very well. He is playful enough to keep the kids entertained whilst striking the right emotional chords to have the adults welling up (there's a scene in the 2nd act that tore me to bits). It does feel as though Hayley Atwell gets lost among the story at times, but once she is folded back into the narrative, she's certainly game.
Oddly, this movie is not all the fun and games of Pooh-sticks that you might expect it to be. There's plenty of levity but it's running parallel with darker and sometimes painfully relatable ideas. Some of the over-arching themes of growing older and losing your childhood will cut pretty close to the bone for some. This almost underlying sense of dread is conveyed visually as well as through the story telling. It's not as bright and colourful as you might expect a kids film to be and there are certain images that are truly creepy and unsettling.
This certainly gives the film an interesting tone. The mixture of merry and sinister, to me, doesn't quite mesh together and at times leaves you feeling like you're watching two different, conflicting stories both competing for the same screen. I would certainly give Mark Foster credit for trying to tell this story in a way that hasn't been done before. However, the intrigue of that darker underbelly of the narrative has all but vanished by the ending, which feels a little unsatisfactory.
Christopher Robin is certainly flawed. The story feels messy, not sure whether to stray down the ambitious, darker path it initially sets out on or to follow the more familiar, conventional narrative. Yet, the stellar work of Ewan McGregor and the 100 acre wood gang gives this film real heart. It's dripping with nostalgia, but still manages to feel fresh. It may not be as joyous as Paddington, but it's about as sweet as a jar full of honey.
3/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
Christopher Robin (McGregor) has long left behind the 100 acre wood and his friends. He has grown up and been made bitter by the mundanity of the real world. But just when it appears that Robin's dead-end job will cost him everything he loves, Winnie, Piglet and the gang decide it's their turn to save Christopher.
This film is just a frothy and warm as you would hope it would be. Catching up with these beloved characters after all this time is a truly joyous experience. Jim Cummings is absolutely tremendous as Winnie the Pooh, and whilst the overall story might be Christopher's, this is very much his movie.
It feels strange to call a stuffed bear nuanced, but he is the perfect blend of melancholic and cheerful. All the creatures are recaptured perfectly, whether it's Piglet's timidness, Tigger's brashness or Eyeore's general distaste to everything he encounters. Whilst there are call-backs to the original books and movies - the prologue is largely told through classic illustrations - it really does feel like these characters have been given a new lease of life and spring in their steps.
Winnie's co-stars are also on great from. Ewan McGregor is really terrific in this film. His performance is made all the more impressive by the fact that most of his scenes are playing off of nothing (or a man in a suit covered in ping pong balls) and he balances the stiffness of an older, wearier Christopher Robin and the inherent silliness of the situation very well. He is playful enough to keep the kids entertained whilst striking the right emotional chords to have the adults welling up (there's a scene in the 2nd act that tore me to bits). It does feel as though Hayley Atwell gets lost among the story at times, but once she is folded back into the narrative, she's certainly game.
Oddly, this movie is not all the fun and games of Pooh-sticks that you might expect it to be. There's plenty of levity but it's running parallel with darker and sometimes painfully relatable ideas. Some of the over-arching themes of growing older and losing your childhood will cut pretty close to the bone for some. This almost underlying sense of dread is conveyed visually as well as through the story telling. It's not as bright and colourful as you might expect a kids film to be and there are certain images that are truly creepy and unsettling.
This certainly gives the film an interesting tone. The mixture of merry and sinister, to me, doesn't quite mesh together and at times leaves you feeling like you're watching two different, conflicting stories both competing for the same screen. I would certainly give Mark Foster credit for trying to tell this story in a way that hasn't been done before. However, the intrigue of that darker underbelly of the narrative has all but vanished by the ending, which feels a little unsatisfactory.
Christopher Robin is certainly flawed. The story feels messy, not sure whether to stray down the ambitious, darker path it initially sets out on or to follow the more familiar, conventional narrative. Yet, the stellar work of Ewan McGregor and the 100 acre wood gang gives this film real heart. It's dripping with nostalgia, but still manages to feel fresh. It may not be as joyous as Paddington, but it's about as sweet as a jar full of honey.
3/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R) and Letterboxd (theboymarshall) for more film related fun.
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