Category Archives: Apple TV

Apple TV, Articles, music, New Releases

APPLE TV REVIEW : FLORA AND SON (2023)

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APPLE TV REVIEW: FLORA AND SON (2023)

Directed by John Carney

Written by John Carney

Produced by: Anthony Bregman, John Carney, Peter Cron, Rebecca O’Flanagan and Robert Walpole.

Main Cast: Eve Hewson, Jack Reynor, Orén Kinlan and Joseph Gordon-Levitt.

Cinematography: John Conroy

Edited by: Stephen O’Connell

John Carney is a brilliant and honest filmmaker who is attracted to outsiders and people with real emotional turmoil. They tend to be at crossroads in their lives and are struggling with their dreams and relationships. He also loves musicians, flaws and all. In Begin Again (2013), a washed-up musical executive, portrayed by Mark Ruffalo, meets unhappy singer-songwriter, Keira Knightley and their first-world romance is played out to bittersweet consequences. Similarly, in Sing Street (2016), a troubled teenager comes of age through his 1980’s pop band and bittersweet romance with a rebellious and equally-troubled schoolgirl. Notice a pattern? Well, this style of music, gritty city backdrops and salty romances were established in Carney’s breakout hit, Once (2007) and are continued in his current underdog musical comedy, Flora and Son (2023).

Flora and Son (2023), believe it or not, is set in Dublin and centres around a single mum, Flora and her delinquent teenage son, Max (Oren Kinlan). Eve Hewson is the foul-mouthed-council-estate-joker, who uses anger and black humour to hide her feelings of insecurity and loss. A mourning for the loss of youth having brought up a child virtually single-handed. Her relationship with Max’s father, Ian (Jack Reynor) is fractured to say the least and they spit sarcastic barbs at each other as shared custodians of disaffected Max. While leaving her cleaning job at a middle-class household, Flora finds a battered guitar in a skip. Attempting to bond with Max, by giving him the guitar, Flora finds herself shunned. She then opens another bottle of wine, picks up the guitar and gives it a crack herself.

Taking online guitar lessons from charming and chilled American musician, Jeff (Joseph Gordon-Levitt), Flora initially flirts but then knuckles down to learn the plucking instrument. The stakes aren’t particularly high here, but the feelgood acoustic numbers from Carney and co-composer, Gary Clark, certainly breeze along nicely and breath gold onto the screen. Max’s white-rap-Irish-hip-hop tracks are pretty good too and the video he and Flora make is really funny. Thus, you get the theme again from Carney that music helps to connect and heal and provide salvation to the most troubled of human situations. Overall, Flora and Son (2023), is a slight but enjoyable film with enough earthy humour, strumming harmony and kicking beats to please most.

Mark: 7.5 out of 11

Apple TV, Cinema, New Releases, Oscar Bingo

APPLE TV FILM REVIEW: CODA (2021)

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APPLE TV FILM REVIEW: CODA (2021)

Directed by: Sian Heder

Screenplay by: Sian Heder

Based on: La Famille Bélier by Victoria Bedos, Thomas Bidegain, Stanislas Carré de Malberg & Éric Lartigau

Produced by: Fabrice Gianfermi, Philippe Rousselet, Jerôme Seydoux & Patrick Wachsberger

Cast: Emilia Jones, Eugenio Derbez, Troy Kotsur, Ferdia Walsh-Peelo, Daniel Durant, Marlee Matlin, etc.

Cinematography: Paula Huidobro

*** MAY CONTAIN SPOILERS ***

Simultaneously a feelgood film and tear-jerking emotional rollercoaster, CODA (2021) combines many familiar aspects from cinema including: Children of a Lesser God (1986), Billy Elliot (2000), Dirty Dancing (1987), and the more recent and arguably superior drama, Sound of Metal (2019). In fact, while it may seem progressive representing a family of deaf adults, the Rossi’s, and their hearing daughter, Ruby (Emilia Jones), the film feels like a Save-the-Cat-screenplay-template-box-ticker hitting wholly familiar beats and a well-trodden genre path. Coda (2021) is also a remake of a successful French-Belgian film, La Famille Bélier (2014). Having said all that, I loved Coda (2021). It is a terrifically entertaining, moving, funny and heart-warming story which, unsurprisingly won the Academy Award for best film.

Set in Massachusetts amidst the milieu of a working class deaf family, the Rossi’s, who run a struggling fishing boat and have to overcome the ignorance and prejudices of the hearing folk. Hitting the high notes at the heart of the story is Ruby Rossi (Emilia Jones). She is a brilliant character to root for; so human, enthusiastic and authentic. Ruby wants to sing but her family, father Frank (Troy Kotsur), mother Jackie (Marlee Martin), rely heavily on her to assist with business and family matters. Her proud brother Leo (Daniel Durant) desires the chance to take more responsibility and this makes him envious of the attention Ruby gets. Throughout, Coda (2021) spans many genres bringing family conflict, Ruby’s singing dream, young romance, everyday tribulations of a deaf family, as well as the plight of a fishing community into the mix. The fantastic screenplay balances all these elements superbly well.

Ruby’s emotional rites-of-passage arc anchors us through so many memorable scenes, proving pivotal as she ultimately finds her voice and independence. Emilia Jones gives a mature performance full of range and heart. Ruby’s embarrassment, shame, fear, anger, passion, guilt, humour, happiness and guts are all exposed on her journey as she fights against the tide of her own self doubt and commitment to family. Her family are well characterised too with Frank and Jackie providing humour, sympathy and pride as the parents who just don’t want Ruby to leave them. Troy Kostur deservedly won a best actor in a supporting role Oscar. Lastly, famous Mexican actor, Eugenio Derbez as Bernardo Villalobos, gives us a fresh take on the staple role of musical mentor.

Unashamedly melodramatic and occasionally cloying, Coda (2021), is a big-hearted familial comedy-drama which while predictable, contains many powerful messages. Following your dream, respecting those around you and loving your family are important missives especially in a world where political and military leaders remain hell-bent on war. Further, while I am not well versed in the world of the deaf community I felt that the representations here were sensitively managed and well-rounded. Sian Heder, as both writer and director, has adapted this story with care, humour and song. Ruby’s voice soars from her lungs, mouth and hands via the expressive sign language, culminating in a joyous experience that must be seen, heard and most importantly felt.

Mark: 9 out of 11

Apple TV, New Releases, Reviews

APPLE TV FILM REVIEW: THE TRAGEDY OF MACBETH (2021)

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APPLE TV FILM REVIEW: THE TRAGEDY OF MACBETH (2021)

Directed by Joel Coen

Screenplay by Joel Coen (Based on Macbeth by William Shakespeare)

Produced by: Joel Coen, Frances McDormand, Robert Graf

Cast: Denzel Washington, Frances McDormand, Bertie Carvel, Alex Hassell, Corey Hawkins, Harry Melling, Brendan Gleeson etc.

Cinematography: Bruno Delbonnel

*** SPOILERS ALERT ***

The Coen Brothers – Ethan and Joel Coen – are, as a filmmaking duo, one of the most original, imaginative, daring, and brilliant artists of my generation. I have watched all of their films many times at the cinema and at home, having completely connected with their distinct style and cinematic voice from their very first film, Blood Simple (1984) to their most recent release anthology Western The Ballad of Buster Scruggs (2018). As they’ve developed as filmmakers my admiration has grown exponentially over the years. They have worked within the studio system while maintaining their cinematic individuality and independent spirit.

Thus, it was a surprise when it was announced that Ethan Coen was taking a break from filmmaking, leaving his brother to venture out solo. Joel’s first production as a singular director is an adaptation of William Shakespeare’s famous Scottish play, The Tragedy of Macbeth (2021). With Denzel Washington cast in the lead and Frances McDormand portraying Lady Macbeth, Joel Coen certainly brought major talent to this prestige Apple production. Yet, given how familiar the play is to the world and the number of film, stage, radio and TV adaptations there have been, could the sole Coen breathe fresh life into this ancient tome?

If you haven’t seen or read Macbeth it is a tragedy first believed to have been performed in 1606. It deals with Macbeth’s journey from heroic warrior to murderous King to paranoiac and haunted mad person. Shakespeare’s themes are so absorbing in relation to the nature of ambition, fate and how a greedy lust for power will destroy a man’s soul and future. The play’s language is pure bewitching poetry and the gothic spirit which pervades the story clutches and squeezes at one’s organs tightly. Macbeth’s fate is sealed as soon as he believes the three witches prophecy on the battlefield. He is damned by his own hubris as well as his wife’s subtle manipulations. But how well does Joel Coen and his stellar cast capture such themes and character intricacies?

Firstly, the look of The Tragedy of Macbeth (2021) is astounding. Shot in brooding monochrome, shadows loom ominously creeping closer via Bruno Delbonnel’s striking cinematography. Moreover, the large sets dwarf the players given them a trapped feel. As though the walls are closing in on their souls as each fateful decision is made. The cast are uniformly superb too. Indeed, Coen makes a fascinating decision regarding the witches, having them portrayed in tremendously twisted fashion by one actor, Kathryn Hunter. Washington and McDormand are of course excellent. However, having such iconic actors in the leads did cause some disconnect with their respective characters. Plus, and I realise it is sacrilege to say this, but I always felt that Macbeth and his wife’s fall into insanity seemed to come too quickly in the latter acts. Lady Macbeth’s suicide in this adaptation felt particularly rushed.

My main tragedy of The Tragedy of Macbeth (2021) is that I did not enjoy it as much as many of the critics have. It is an incredibly wondrous film to look at. The sound also crackles and pops with howling wind, squawking birds, metal swords clashing and THAT sensational dialogue being delivered with majestic power by the cast. Yet somehow, despite the prodigious talent and excellent work presented by all I did not quite gel with it. I think it is probably my over-familiarity with the narrative, plus it was a very respectful adaptation. I would have liked to have seen more gore and action, rather than the restrained vision Joel Coen so expertly delivers here. Nonetheless, it remains another impressive addition to his amazing filmic curriculum vitae.

Mark: 8 out of 11