An adaptation of a 1980's ITV drama might not be the most obvious choice for Steve McQueen's much anticipated follow-up to his Best Picture winning 12 Years a Slave, but Widows is a film made up of much of the same vitality and voice. It is so much more than it appears to be on the surface. This is not another 'dumb' Hollywood blockbuster - this is a heist film with real sharpness and intelligence behind it.
When four criminals are killed in a heist gone wrong, their widows are forced to band together and pull off a heist of their own to clean up the mess left to them by their husbands.
One of the most interesting elements of this film is the blending of different tones and genres. There are so many aspects covered. The opening throws us right into some gripping heist action, a predominantly POV perspective. Immediately, you're hooked. But over the course of the film, McQueen slows the action beats right down. If you're expecting a zippy action caper รก la Ocean's 11, you will probably be disappointed. In place of quips and zingers, McQueen takes time to establish engaging, complex characters and explore some more mature themes. There's a focus on the ugly (and more realistic) side of crime - loss, grief and the fallout of your misdeeds.
This gambit would be bold enough on it's own, but as I said, McQueen doesn't hold back with the topics he's willing to cover. The backdrop of contemporary Chicago provides the perfect setting for insightful comments on political corruption, race issues, poverty. Some lines may feel slightly on the nose, but on the whole these issues are covered with respect and intelligence. One particular tracking shot is the most ingenious piece of visual storytelling that I have ever seen.
McQueen's deployment of this incredible cast must also be commended. It's very easy in large ensemble movies for certain actors or characters to disappear. Yet, of the embarrassment of riches available to him in the cast, McQueen ensures that each and every one of the characters makes a memorable and lasting impression. There are certain standouts of course. Viola Davis is tremendous in the lead role and will definitely be in the Oscar conversation. Each of the widows bring their A game, with Elizabeth Debicki particularly giving a gentle but vibrant performance. Daniel Kaluuya cements his place as one of the best young actors on the planet right now. His presence on screen is immense - so icy and intense - you're genuinely terrified every time he swaggers into frame.
I was massively impressed by Widows. I suspect that it might be a divisive film. There are a few twists you could easily take contention with and the huge amount of themes and ideas covered could be seen as over-stuffing. But there is an awful lot to enjoy. It's a very different kind of heist movie, but these are some very welcomed changes. An intelligent voice speaking out about crucial issues through some outstanding performances.
4/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R), Letterboxd (theboymarshall) and Instagram (thatsthemoneyshot) for more film-related fun.
Monday, 12 November 2018
Monday, 15 October 2018
'First Man' Review
It's fitting that Damien Chazelle would make a movie about going to the moon, as he has been on his own meteoric rise as of late. Never before has a director arrived on the world stage in such an swift yet spectacular fashion. Both Whiplash and La La Land are nailed-on, 5 star classics. Whilst First Man might appear on the surface to be a vast departure from his other works, it's a very Chazelle movie and is right up there with his best.
First Man tells the story of America's triumphant mission to the moon in a way that you've never seen before. This is primarily a Neil Armstrong (Gosling) biopic, focussing on his personal journey and how the pressure of his country on his shoulder's puts huge strains of his personal and professional life.
One of Damien Chazelle's most notable skills is his ability to get the very best out of his actors. He led both J.K. Simmonds (Whiplash) and Emma Stone (La La Land) to Oscar winning performances, and his use of Ryan Gosling in this film is worthy of similar accolades. I'm a massive fan of Gosling and this is, in my mind, his very best performance. He is exceptional. He treads the line between the likeable and introverted perfectly. He provides a fascinating viewpoint into the psyche of Armstrong. First Man might seem far removed from Whiplash and La La Land, but the through lines of obsession and it's risks are ever present. His performance is nuanced and subtle, but still capable of bearing the weight of the heavy emotional beats this film throws your way. I have a horrible feeling that he won't win best actor, given that Robert Redford's swan-song will surely grab the hearts of the academy, but he more than deserves it. He is simply tremendous.
Opposite Gosling, Claire Foy is superb as Neil's wife Janet. I've heard complaints that she isn't given enough to do but in reality she is the backbone of the story. Neil might be the protagonist, but Janet is the real hero, demonstrating the courage and reserve to hold their family together. The relationship of Neil with his wife and son's is the true core of this film, and whilst the scope is dialled to 11 during the space scenes, Chazelle constantly maintains the focus on the real subject of this film, as signified by the very deliberate choice of ending shots.
Having said that, the sequences in space are breathtaking. Chazelle has such an exquisite eye for detail and it's on full display here. The intricacies of the suits and the shuttles (all specifically built to match the real life machines) are extraordinary. The sound design is incredible, the contrast between the eerie silences of space with the nerve-shredding noise of the rockets and shuttles. Certain shots even let you see events play out through Armstrong's eyes. It all contributes to one of the most realistic depictions of going to space you will ever see.
A major part of that realism is an emphasis on just how dangerous this mission was. The launch sequences are in many instances terrifying. So much intensity is created though the use of light and sound that, from the very first scene, you are constantly on the very edge of your seat. You feel like you're in the cockpit with the astronauts, with is both a delightful and horrifying experience. This film does a terrific job of reminding you just how much was at stake - people risked their lives for this cause and Chazelle doesn't shy away from this. The brutality of certain events and accidents is understated, which only serves to make it all the more devastating.
But this film is just as beautiful as it is harrowing. It takes it sweet time getting to the moon, but the gradual build up makes the pay off all the more satisfying. The sequences on the moon itself are just gorgeous - huge wide lens shots captured on IMAX cameras give such a sense of scale and expanse. The stunning visuals are paired with a fantastic score by Justin Hurwitz. 'The Landing' is one of the most mesmerising compositions I've ever heard.
First Man is one of the most beautiful movies I have ever seen. Trying to identify a standout sequence is impossible, as there are so many scenes and individual shots that I've not been able to stop thinking about since I left the theatre. The space sequences are staggering, a perfect balance of gripping and gorgeous. But amongst the huge scope of these scenes, Chazelle never loses sight of the man beneath the mask. It's one of the most remarkable experiences I've ever had in a cinema (I cried 3 separate times for 3 very different reasons). My incoherent ramblings could never do this film justice - you NEED to see it, preferably on the biggest screen you can find. It's a term that's thrown around a lot these days, but First Man is a genuine masterpiece in every sense of the word.
5/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R), Letterboxd (theboymarshall) and Instagram (thatsthemoneyshot) for more film related fun.
First Man tells the story of America's triumphant mission to the moon in a way that you've never seen before. This is primarily a Neil Armstrong (Gosling) biopic, focussing on his personal journey and how the pressure of his country on his shoulder's puts huge strains of his personal and professional life.
One of Damien Chazelle's most notable skills is his ability to get the very best out of his actors. He led both J.K. Simmonds (Whiplash) and Emma Stone (La La Land) to Oscar winning performances, and his use of Ryan Gosling in this film is worthy of similar accolades. I'm a massive fan of Gosling and this is, in my mind, his very best performance. He is exceptional. He treads the line between the likeable and introverted perfectly. He provides a fascinating viewpoint into the psyche of Armstrong. First Man might seem far removed from Whiplash and La La Land, but the through lines of obsession and it's risks are ever present. His performance is nuanced and subtle, but still capable of bearing the weight of the heavy emotional beats this film throws your way. I have a horrible feeling that he won't win best actor, given that Robert Redford's swan-song will surely grab the hearts of the academy, but he more than deserves it. He is simply tremendous.
Opposite Gosling, Claire Foy is superb as Neil's wife Janet. I've heard complaints that she isn't given enough to do but in reality she is the backbone of the story. Neil might be the protagonist, but Janet is the real hero, demonstrating the courage and reserve to hold their family together. The relationship of Neil with his wife and son's is the true core of this film, and whilst the scope is dialled to 11 during the space scenes, Chazelle constantly maintains the focus on the real subject of this film, as signified by the very deliberate choice of ending shots.
Having said that, the sequences in space are breathtaking. Chazelle has such an exquisite eye for detail and it's on full display here. The intricacies of the suits and the shuttles (all specifically built to match the real life machines) are extraordinary. The sound design is incredible, the contrast between the eerie silences of space with the nerve-shredding noise of the rockets and shuttles. Certain shots even let you see events play out through Armstrong's eyes. It all contributes to one of the most realistic depictions of going to space you will ever see.
A major part of that realism is an emphasis on just how dangerous this mission was. The launch sequences are in many instances terrifying. So much intensity is created though the use of light and sound that, from the very first scene, you are constantly on the very edge of your seat. You feel like you're in the cockpit with the astronauts, with is both a delightful and horrifying experience. This film does a terrific job of reminding you just how much was at stake - people risked their lives for this cause and Chazelle doesn't shy away from this. The brutality of certain events and accidents is understated, which only serves to make it all the more devastating.
But this film is just as beautiful as it is harrowing. It takes it sweet time getting to the moon, but the gradual build up makes the pay off all the more satisfying. The sequences on the moon itself are just gorgeous - huge wide lens shots captured on IMAX cameras give such a sense of scale and expanse. The stunning visuals are paired with a fantastic score by Justin Hurwitz. 'The Landing' is one of the most mesmerising compositions I've ever heard.
First Man is one of the most beautiful movies I have ever seen. Trying to identify a standout sequence is impossible, as there are so many scenes and individual shots that I've not been able to stop thinking about since I left the theatre. The space sequences are staggering, a perfect balance of gripping and gorgeous. But amongst the huge scope of these scenes, Chazelle never loses sight of the man beneath the mask. It's one of the most remarkable experiences I've ever had in a cinema (I cried 3 separate times for 3 very different reasons). My incoherent ramblings could never do this film justice - you NEED to see it, preferably on the biggest screen you can find. It's a term that's thrown around a lot these days, but First Man is a genuine masterpiece in every sense of the word.
5/5 Stars
*Also please be sure to follow me on Twitter (@T_F_T_S_R), Letterboxd (theboymarshall) and Instagram (thatsthemoneyshot) for more film related fun.
Sunday, 14 October 2018
Film Studies - Week 1
Welcome to a new series of posts here on the blog. Now that I'm fully enrolled and settled into university life, I'm going to be watching a lot of movies this year (not much has changed there then). So this is the first instalment of a weekly round-up of all the movies I get to see through my years as a film student. Enjoy.
Avenger's Infinity War (2018)
Viewing - 4th
I don't think I'll ever be truly ready to describe my thoughts on this movie. It's a staggering achievement in film making. Somehow, the Russo's managed to draw together 10 years worth of characters, narratives and sub-plots and combine them into a story that is not only cohesive, but incredibly effective. It still captures the humour and charm of the MCU, whilst feeling tonally distinctive and original. It goes deeper and darker than any other comic-book movie has ever dared to tread and it pulls it of flawlessly.
5/5 Stars
Layer Cake (2004)
Viewing - 1st
This is a very Matthew Vaughn movie. Stylish, wise-cracking protagonists navigating a world of fleeting but extremely graphic violence. There's a lot of fun to be had with it, particularly in the performance of Daniel Craig. It's nice to see that pre-Bond sparkle in his eyes for a change. It suffers from poor pacing in the middle, as the conspiracy begins to unravel. But that whammy ending more than redeems it in my eyes. Well worth a watch.
4/5 Stars
Jaws (1975)
Viewing - 2nd
Despite my personal preference for Jurassic Park, I can fully understand why this is regarded as Spielberg's best work. It's a vital movie in terms of not only Spielberg's career but the state of blockbuster films on the whole. The shark itself isn't at all convincing, and it a lesser movie would be a causer laughter rather than fear. But the limitations of the shark never even cross your mind. It's masterfully suspenseful - even sequences where nothing of any real significance happens have you on the very edge of your seat. Simply fantastic.
5/5 Stars
American Animals (2018)
Viewing - 1st
A movie that I really enjoyed and one of the most inventive an original I've seen this year. The use of documentary-style interviews with the real life perpretators spliced into the reenactment of the event is a really innovative and engaging idea. The core four of the cast are really strong - Barry Keoghan and Evan Peters especially capture the likeness of their real world counterparts. The shift in tone, from joyous watching the gang 'revise' for the heist by watching classic crime movies to the devastation of watching the theft go badly wrong, comes suddenly and serves as a real kick in the teeth. It's a very unglamorous, harrowing depiction of a heist, the potency of which I haven't seen before.
4/5 Stars
First Man (2018)
Viewing - 1st
Be fully prepared for a full review of First Man shortly, as I really need the outlet to vent about just how incredible this movie is. I can't put it much simpler than you NEED to see this movie. Find the biggest cinema screen you can (I envy you if you're near an IMAX theatre) and prepare for one of the most staggering experiences you will ever have in a cinema.
5/5 Stars
That's all folks. See you next Sunday.
Avenger's Infinity War (2018)
Viewing - 4th
I don't think I'll ever be truly ready to describe my thoughts on this movie. It's a staggering achievement in film making. Somehow, the Russo's managed to draw together 10 years worth of characters, narratives and sub-plots and combine them into a story that is not only cohesive, but incredibly effective. It still captures the humour and charm of the MCU, whilst feeling tonally distinctive and original. It goes deeper and darker than any other comic-book movie has ever dared to tread and it pulls it of flawlessly.
5/5 Stars
Layer Cake (2004)
Viewing - 1st
This is a very Matthew Vaughn movie. Stylish, wise-cracking protagonists navigating a world of fleeting but extremely graphic violence. There's a lot of fun to be had with it, particularly in the performance of Daniel Craig. It's nice to see that pre-Bond sparkle in his eyes for a change. It suffers from poor pacing in the middle, as the conspiracy begins to unravel. But that whammy ending more than redeems it in my eyes. Well worth a watch.
4/5 Stars
Jaws (1975)
Viewing - 2nd
Despite my personal preference for Jurassic Park, I can fully understand why this is regarded as Spielberg's best work. It's a vital movie in terms of not only Spielberg's career but the state of blockbuster films on the whole. The shark itself isn't at all convincing, and it a lesser movie would be a causer laughter rather than fear. But the limitations of the shark never even cross your mind. It's masterfully suspenseful - even sequences where nothing of any real significance happens have you on the very edge of your seat. Simply fantastic.
5/5 Stars
American Animals (2018)
Viewing - 1st
A movie that I really enjoyed and one of the most inventive an original I've seen this year. The use of documentary-style interviews with the real life perpretators spliced into the reenactment of the event is a really innovative and engaging idea. The core four of the cast are really strong - Barry Keoghan and Evan Peters especially capture the likeness of their real world counterparts. The shift in tone, from joyous watching the gang 'revise' for the heist by watching classic crime movies to the devastation of watching the theft go badly wrong, comes suddenly and serves as a real kick in the teeth. It's a very unglamorous, harrowing depiction of a heist, the potency of which I haven't seen before.
4/5 Stars
First Man (2018)
Viewing - 1st
Be fully prepared for a full review of First Man shortly, as I really need the outlet to vent about just how incredible this movie is. I can't put it much simpler than you NEED to see this movie. Find the biggest cinema screen you can (I envy you if you're near an IMAX theatre) and prepare for one of the most staggering experiences you will ever have in a cinema.
5/5 Stars
That's all folks. See you next Sunday.
Sunday, 23 September 2018
'Crazy Rich Asians' Review.
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.
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.
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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