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Netflix, Reviews

Netflix Film Review: The Piano Lesson (2024) – ghosts of the past and present haunt the screen with resounding power!

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Netflix Film Review: The Piano Lesson (2024)

Directed by Malcolm Washington

Screenplay by Virgil Williams & Malcolm Washington

Based on The Piano Lesson by August Wilson

Produced by Denzel Washington & Todd Black

Main cast: John David Washington, Danielle Deadwyler, Samuel L. Jackson, Ray Fisher, Michael Potts, Erykah Badu, Skylar Aleece Smith,
Corey Hawkins, and more.

Cinematography by Mike Gioulakis

Malcolm Washington’s directorial debut, The Piano Lesson (2024), is a poignant and evocative adaptation of August Wilson’s 1987 play, set in 1936 Pittsburgh. Through a compelling narrative and an exceptional cast, Washington explores themes of heritage, familial conflict, and the enduring impact of racial oppression.

Washington, alongside co-writer Virgil Williams, expands the original stage play’s confines by incorporating flashbacks and supernatural elements, enriching the narrative’s depth and scope. The film centers on the Charles family, particularly siblings Boy Willie (John David Washington) and Berniece (Danielle Deadwyler), who are at odds over the fate of a family heirloom piano. Boy Willie wishes to sell the piano to purchase land that once belonged to their ancestors, while Berniece views the instrument as a sacred connection to their past.

The piano, intricately carved with images of the Charles family’s ancestors, serves as a powerful symbol of their history and resilience. For Boy Willie, it represents a means to break free from the shackles of the past and build a future of self-sufficiency. Conversely, Berniece sees it as a testament to their survival and a link to the sacrifices made by their forebears. This dichotomy underscores the central conflict: the tension between honoring tradition and pursuing progress

The film delves into the complexities of familial bonds and the differing perceptions of heritage. Boy Willie’s desire to sell the piano reflects a yearning to move beyond the constraints of history, while Berniece’s attachment signifies a commitment to preserving their lineage. At the same time she mourns the loss of her husband and combats romantic offers from local suitors. Her struggles truly power the piece and the familial clashes further embody the broader struggle within African American communities: reconciling the weight of history with the aspirations for advancement. The supernatural elements, particularly the haunting presence of the plantation owner, Sutter’s ghost, are delivered effectively. They also amplify the narrative’s exploration of unresolved trauma and the need for reconciliation.

The ensemble cast delivers standout performances, with John David Washington portraying Boy Willie’s fiery ambition and Danielle Deadwyler capturing Berniece’s steadfast resolve. How Deadwyler did not even get an Oscar nomination for Best Actress in a Supporting Role is beyond me. Moreover, Samuel L. Jackson offers a subtle, unselfish and grounded portrayal of Doaker, the family patriarch. Washington’s direction ensures a respectful adaptation, balancing the play’s rich and passionate dialogue with cinematic elements that enhance its emotional resonance.

Overall, Malcolm Washington’s The Piano Lesson is a resounding adaptation that honours August Wilson’s legacy while providing a fresh perspective on timeless themes. Through its rich symbolism, compelling performances, and thoughtful direction, the film invites audiences to reflect on the complexities of heritage, the burdens of history, and the paths toward healing and progress.

Mark: 8.5 out of 11

Netflix, Reviews

Netflix Film Reviews: Indonesian Action Maestro – Timo Tjahjanto Trilogy

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Netflix Film Reviews: The Timo Tjahjanto Trilogy

When Welsh filmmaker Gareth Evans burst on the cinematic scene with martial arts film, Merantau (2009) and followed it with the seminal action classic, The Raid (2011), he precipitated a welcome interest in Indonesian cinema and visceral fight films too. On reflection, Evans’ rise has influenced Indonesian director, Timo Tjahjanto, and their collaboration played a significant role in shaping the latter’s career. The two directors worked together on the action-packed Safe Haven segment of the anthology film V/H/S/2 (2013), which gained critical acclaim for its intensity and creativity. This partnership showcased Tjahanto’s knack for blending horror, action, and suspense, a style Evans is also known for through his work on the aforementioned The Raid series.

Thus, as a massive fan of The Raid (2011), I decided to watch Tjahjanto’s most recent Netflix releases. Their shared focus on high-octane action and stylized, bloody violence has led to comparisons between each of the filmmakers’ work and a sense of mutual inspiration. Tjahjanto has often expressed admiration for Gareth Evans’ meticulous approach to action choreography and storytelling. Evans’ ability to balance fast-cutting action, physically powerful actors and pulsating sound effects likely resonated with Timo, who has implemented similar techniques in his own films.

Here are three short reviews of those Netflix actioners from Tjahjanto, who is soon to be directing Nobody 2 (2025). I realise scenes where characters are garroted, decapitated, strangled, snapped, shot, hung and impaled with their own splintered bones are not the most seasonal of films to recommend, but if you absolutely love fist-blade-gun-bomb-stick-knife-head-tools-led set-pieces then do check them out.

** MAY CONTAIN SPOILERS **

THE NIGHT COMES FOR US (2018)

Main cast: Joe Taslim, Iko Uwais, Julie Estelle, Sunny Pang and Zack Lee

Fans of the The Raid series will recognise Iko Uwais immediately, however, he is not the main hero in this frenetic and ultra-violent crime thriller. Not that there are not many heroes on show here. Tjahjanto is very much a genre writer and director, presenting big archetypal gangs involving the South East Asian Triads, groups called ‘The Big Six’ and characters called ‘The Operator.’ While there is an attempt to create emotion, Tjahjanto’s strength is in directing and choreographing blistering battle scenes between these various gangs.

The Night Comes For Us (2018) plot finds Joe Taslim’s, Ito, as enforcer saving a young girl’s life and trying to turn his back on crime and violence. It’s easier said than done as all hell breaks loose when various crime factions pursue him in a myriad of ferocious set-pieces. Here Tjahjanto vision of violence serves as more than just a tool for storytelling; it becomes an overwhelming, nihilistic force that shapes the film’s worldview and emotional tone. The relentless brutality and graphic depiction of human suffering go beyond entertainment, creating a numbing effect that forces viewers to confront the inescapable cycle of destruction and loss. The theme of redemption is at the heart of Ito’s journey, but ultimately it’s the high body count that stays with you.

Mark: 8.5 out of 11

THE BIG 4 (2022)

Main cast: Abimana Aryasatya, Putri Marino, Lutesha, Arie Kriting and Kristo Immanuel etc.

The Big 4 (2022) takes a sharp tonal shift from the grim and nihilistic world of The Night Comes for Us, embracing a blend of high-octane action and irreverent humour. While both films showcase the director’s trademark flair for elaborate action choreography and over-the-top violence, The Big 4 tempers its brutality with comedic undertones, a zany dysfunctional family dynamic, and a sense of fun reminiscent of The A-Team.

The film is peppered with witty banter, physical comedy, and absurd situations that lighten the mood, even during intense action sequences. The violence, while still extreme, is stylized in a way that leans more toward cartoonish spectacle than visceral horror, allowing the audience to laugh along with the chaos rather than feel emotionally drained by it. At the heart of The Big 4 is the relationship between its central group of misfit assassins, who operate more like a chaotic, bickering family than a traditional hit squad. The result is a film that retains Timo Tjahjanto’s penchant for adrenaline-fueled spectacle while delivering a more comedic and uplifting familial experience.

Mark: 7.5 out of 11

THE SHADOW STRAYS (2024)

Main cast: Aurora Ribero, Hana Malasan, Taskya Namya, Agra Piliang, Andri Mashadi, Chew Kin Wah etc.

Tjahjanto’s latest release, The Shadow Strays (2024) melds the sleek, character-driven intensity of Nikita (1990) with the mythic, stylized world-building of John Wick, resulting in a brutal and visceral cinematic experience that showcases his signature flair for action. The film blends high-octane combat with a dark, morally ambiguous narrative, creating a layered world filled with shadowy organizations, unrelenting assassins, and a protagonist caught between vengeance and redemption.

The well-worn plot shows a young trainee assassin called, Thirteen (Aurora Ribero), trying to find her own identity, at the same time of rescuing a young orphan from nefarious drug dealers and corrupt politicians. The narrative explores themes of identity, loyalty, and betrayal, grounding the hyper-stylized violence in a story of personal stakes and transformation. Her journey resonates with a sense of tragedy, as she grapples with the toll her violent profession takes on her psyche and relationships. While The Shadow Strays pays homage to its influences, it remains distinctly Tjahjanto, weaving his trademark brutality with Ribero confirming herself as bona fide film action star. The overall result is a gripping, unrelenting, if overlong journey, into a violent underworld where every choice comes with a cost.

Mark: 8 out of 11

Netflix, Reviews

Netflix Film Review: Violence, paternity and love all cook in The Kitchen (2024)

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NETFLIX FILM REVIEW: THE KITCHEN (2024)

Directed by Kibwe Tavares and Daniel Kaluuya

Written by Daniel Kaluuya and Joe Murtagh

Produced by Daniel Emmerson and Daniel Kaluuya

Main Cast: Kane Robinson, Jedaiah Bannerman, Hope Ikpoku Jr, Teija Kabs, Demmy Ladipo and Ian Wright

Music by Labrinth and Alex Baranowski

Cinematography by Wyatt Garfield

*** MAY CONTAIN SPOILERS ***

The Kitchen (2023) is a solid addition to the cinematic library of sci-fi dystopian narratives. It also combines thematic elements from rites of passage, action and family drama genres with much success. The story concentrates on Izi (Kane Robinson), who lives in London, 2044) where social housing is gone, except for “The Kitchen,” a community under threat from the wealthy. He works at ‘Life After Life’, a futuristic funeral service that turns unaffordable burials into trees families can visit before planting. After attending a funeral at his work he meets and forms an uneasy relationship with the son of the deceased, Benji (Jedaiah Bannerman). But is there more that connects the two?

Directed with imagination, energy and compelling flair by Kibwe Tavares and Daniel Kaluuya, The Kitchen (2023) focuses on Black culture as it faces relentless attacks from capitalist forces and oppressive law enforcement, painting a vivid portrait of a community fighting for survival. Moreover, the film explores the systematic erasure of cultural and physical spaces, where gentrification and state violence converge to push out the last bastion of working-class solidarity. This struggle becomes a powerful metaphor for resistance and resilience, underscored by music, tradition, community and collective memory.

At its heart, the film also delves deeply into paternal relationships, exploring the nature of both surrogate and absent fathers. Despite the futuristic setting, it is the relationships in the film which are most powerful. Benji is at a crossroads as to which direction his life may go, with the drama echoing the emotional intensity of Boys in the Hood (1991), This Is England (2006), Platoon (1986), and A Bronx Tale (1993). These connections explore themes of legacy, masculinity, crime and moral conflict within a fractured world. Through these intimate relationships the film compellingly reflects on generational trauma, grief and love.

Overall, The Kitchen (2023) is a stylish, superbly filmed and thought-provoking drama with a fantastic soundtrack and score. I would have preferred a lead protagonist who was more expressive and verbal. Kane Robinson is a fine actor, but I wanted Izi to explode on the screen rather than keep all that emotion and anger in. This and the over-familiar story beats ultimately do not take away from an excellent feature from the incredibly talented Tavares and Kaluuya.

Mark: 8 out of 11

music, Netflix, Reviews

Netflix Film Review: Emilia Perez (2024) – A Trans-formative song of Risk and Redemption!

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NETFLIX FILM REVIEW: EMILIA PEREZ (2024)

Directed by Jacques Audiard

Screenplay by Jacques Audiard

Based on Écoute by Boris Razon

Produced by Jacques Audiard, Pascal Caucheteux, Valérie Schermann, Anthony Vaccarello

Main Cast: Zoe Saldaña, Karla Sofía Gascón, Selena Gomez, Adriana Paz, Mark Ivanir, Édgar Ramírez etc.

Cinematography by Paul Guilhaume

*** MAY CONTAIN SPOILERS ***

“There’s such a thing as having too much going on.” Howard Moon from The Mighty Boosh.

I am a big champion of the films of Jacques Audiard. When his eccentric Western, The Sisters Brothers (2018), was released I wrote a positive review and tribute to several other fine films he has directed here. Audiard likes to take risks representing human beings on the edge of society and perhaps struggling with life; people who often make left-field decisions to improve or escape their existential plight. With his latest film Emilia Perez (2024) the filmmaking master challenges the audience again with a multi-blended genre film that also contains powerful themes of transformation, redemption, violence, crime and family values. Oh and there are songs too.

The narrative begins strongly as Rita Mora Castro (Zoe Saldana), a fiercely talented yet overlooked lawyer in Mexico City, finds herself thrust into the spotlight when she defends the wife of a prominent media mogul in a controversial murder trial. Despite her misgivings, Rita crafts a chillingly persuasive argument that frames the death as a suicide, securing an unexpected victory in the case—one that leaves her both celebrated and haunted.

As the dust settles, Rita’s restless dissatisfaction with her life grows louder. Then comes an anonymous phone call: an enigmatic voice offers her a chance at something extraordinary—and extraordinarily dangerous. Intrigued and desperate for change, she agrees to a clandestine meeting. The mysterious client turns out to be none other than Juan “Manitas” Del Monte (Karla Sofía Gascón), a ruthless and feared cartel kingpin. But the request they make isn’t what Rita expects from a crime-lord. Manitas dreams of living authentically by undergoing gender-affirming surgery and becoming a woman. Rita must decide: will she help Manitas rewrite their story, or will she risk becoming the next chapter in a tale of betrayal and bloodshed?

This fascinating set-up draws you in and I believe if Audiard’s narrative had concentrated mostly on the relationship between Rita, the transitioned, Emilia, then the film would have retained much emotional and thematic power. Yet, after Emilia’s operation the screenplay introduces several other story strands and characters to take in, including Selena Gomez’ feisty Jessi Del Monte, Manitas’ ex-wife who thinks “he’s” dead. This development works initially but then Audiard hurls so many more ideas and genres at the audience wall, not all of them sticking.

Admittedly, the film’s audacious blend of melodrama, crime, thriller, musical, and comedy creates an unpredictable and frenetic narrative that keeps viewers on their toes. However, this constant genre-shifting can undermine the weight of its core themes—gender and identity—by overshadowing them with spectacle and tonal inconsistency. The story’s rapid turns and refusal to settle into a single emotional or narrative groove risk, arguably trivializing the profound struggles and triumphs of its trans-protagonist. Moments that could serve as deeply reflective or cathartic explorations of gender identity are sometimes undercut by abrupt pivots into slapstick humor or hyper-stylized action. While these shifts might aim to reflect the disarray and fluidity of identity in a chaotic world, they can also dilute the thematic resonance.

At the same time, it’s clear Audiard is deliberately embracing this chaos and analysis of human flaws. The fractured tone might symbolize a world where stability and clarity are illusions, mirroring the internal and external conflicts of someone navigating personal transformation in an unyielding environment. This approach, while conceptually intriguing, can feel alienating. Nonetheless, the cast’s stellar performances anchor the film, ensuring that the characters remain compelling even when the story spirals into excess. Lastly, Emilia Perez‘ (2024) relentless energy often leaves little room for introspection, and whether this genre-chaos enriches or undermines the narrative depends largely on the viewer’s tolerance for Audiard’s embrace of choral disorder in a world seemingly allergic to calm and pattern.

Mark: 7.5 out of 11

Cinema, Netflix, Reviews

NETFLIX FILM REVIEW: HIT MAN (2023)

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Directed by Richard Linklater

Screenplay by Richard Linklater & Glen Powell

Based on “Hit Man” by Skip Hollandsworth

Produced by Mike Blizzard, Richard Linklater, Glen Powell, Jason Bateman & Michael Costigan

Main Cast: Glen Powell, Adria Arjona, Austin Amelio, Retta, Sanjay Rao, etc.

Cinematography by Shane F. Kelly

*** MAY CONTAIN SPOILERS ***

Hollywood has a history of attempting to mold certain actors into the next big film stars, often casting them in high-profile projects with hopes of catapulting them to stardom. Colin Farrell was positioned as a leading man with roles in blockbuster films like Minority Report (2002), Alexander (2004) and S.W.A.T. (2003), but despite his undeniable talent, he didn’t quite become the A-list fixture studios envisioned. Having said that Farrell has proved himself an actor of high esteem, choosing to work with some of the best directors around in Yorgos Lanthimos and Martin McDonagh.

Similarly, Sam Worthington was thrust into the spotlight with Avatar (2009) and Terminator Salvation (2009), yet struggled to keep his star power afterward. Likewise, Taylor Kitsch, Hayden Christensen, Jai Courtney, Kate Mara and Daisy Ridley were also groomed for stardom. While Ridley achieved significant recognition, sustaining that momentum outside of the galaxy far, far away has proven difficult, Cara Delevingne has found the transition from supermodel to actress somewhat challenging. Enter stage centre, Glen Powell, who is arguably the latest actor the Hollywood machine is pushing for global stardom.

Powell is a handsome, charming and intelligent actor with a winning smile who certainly carries the romance and comedic elements of Hit Man (2023) extremely well. He portrays Gary Johnson, a mild-mannered professor of Psychology and Philosophy at the University of New Orleans who also assists the New Orleans Police Department in undercover sting operations. Usually working behind the operations providing advice, Gary is suddenly thrust into the action and has to play a fake hit-man to bring a suspect down. While this set-up stretched legal credulity, we eventually learn that the events are based on a “true” story. No doubt some liberties have been taken with the source material.

Gary’s character development finds him becoming very successful as an undercover operator, taking on a series of disguises and inventing precise alter egos to match the psychological make-up of those he is trying to trap. Hit Man (2023) is a kind of “ugly duckling” story where the ‘Alpha’ identity Gary invents ultimately takes over his own ‘Beta’ personality. The romantic element of the narrative comes via the beautiful and troubled, Madison (Adria Arjona), who desires to kill her abusive boyfriend, Ray. Tasked with bringing her to justice, Gary contrives to give her a second chance, but when Ray turns up dead, Gary’s whole existence and secret identity comes under threat. While this sounds like the plot to a really compelling thriller, overall there is a lighter touch to the direction and much humour. Further, Powell’s on-screen chemistry with Arjona is convincing and sizzles throughout.

I really enjoyed Hit Man (2023). It’s familiar and conventionally structured, but has a smart genre script and winning performances from the charismatic and sexy leads. Lastly, Richard Linklater is a rare filmmaker who seamlessly navigates between art-house cinema and more commercial projects, maintaining his distinctive voice across both realms. Hit Man (2023) finds him in more crowd-pleasing territory as he was with the fantastic School of Rock (2003). Yet, will Powell ultimately become a box office success and bona fide movie star? Well, I guess with this film, the recently released, Twisters (2024), the upcoming Huntington (2025) and Edgar Wright directed, The Running Man (2025), he is well on his way.

Mark: 8 out of 11

Cinema, horror, Netflix

NETFLIX REVIEWS: HORROR!

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NETFLIX REVIEWS: HORROR!

As regular readers of my blog will know I am a massive fan of horror films. So much so I will often theme my monthly viewing around the genre, then consolidate the reviews in one post. Here are two of the most recent posts:

HORROR OBSCURA FILM REVIEWS – HALLOWEEN 2021 SPECIAL!
13 HORROR FILMS FOR CHRISTMAS – Some alternative festive reviews!

For the month of June and bleeding into July, I solely focused on horror films streaming on Netflix. So, here are short reviews of the many films I watched that are currently available on Netflix!

*** CONTAINS PLOT SPOILERS ***

A CLASSIC HORROR STORY (2021)

Italian shocker that echoes Midsommar (2019), Scream 3 (2000) and The Ritual (2017). The script is meta-clever and there’s some decent gore, but overall it lacks emotional empathy for the characters. More of a knowing film satire rather than being proper scary. Mark: 6.5 out of 11

BAGHEAD (2023)

Suffers in comparison to the far more energetic and thrilling Talk to Me (2022) – which is also on Netflix. Aside from the opening with the always brilliant Peter Mullan, who sets the scene, monster and horror rules, the film contains slight characterization and low stakes when the lead protagonists enter the shadowed fray. Mark: 5.5 out of 11

BLOODY NEW YEAR (1987)

Genuinely one of the worst horror films EVER made, that somehow still has some memorably crazy moments and monsters. Watch and cry with laughter about how bad this Brit-shocker is though! Mark: 2 out of 11

CAM (2018)

Madeline Brewer is fantastic as the narcissistic Cam-Girl who finds her identity is cloned, with the added stress of a killer being on her trail. Cleverly and wittily plotted, this brilliantly directed satire rises above its exploitative material to deliver a thematically rich horror film full of suspense and shocks. Mark: 8.5 out of 11

CREEP 2 (2017)

Mark Duplass gives another strikingly weird performance as the serial killer who loves the slow-burn taunting of his victims. Both this and Creep (2015) actually make the found footage filming trope work really well. Mark: 7.5 out of 11

EMELIE (2016)

What if your babysitter isn’t the person you think they are? An incredibly chilling character study designed to give every parent sleepless nights. With a committed performance from Sarah Bolger, this has so many twisted scenes involving the kids that disturbed me and feared for their safety. A horror film that really burrows under your skin throughout. Mark: 7.5 out of 11.

FANTASY ISLAND (2020)

Taking a 1970’s high-concept drama series and turning it into a horror film is not the worst idea, especially as the original series had its darker episodes often involving cautionary tales of morality. However, the script they delivered for this misfire feels as though many, many writers have tried desperately to resuscitate it from within the cold morgue draw. There’s some drive and energy from the cast and I actually enjoyed some of the set-pieces, but it feels ultimately like over-stuffed mush. Mark: 5 out of 11.

HAUNT (2019)

An incredibly generic set-up finds a group of teenagers drawn to a haunted house at Halloween, only for crazed killers to lock them in a slash them down. Benefits from some imaginative villains and kills, plus an empathetic lead characterization by Katie Stevens as the grieving Harper. Lastly, directors Scott Beck and Bryan Woods show excellent control over tone, style and suspense. Mark: 7.5 out of 11.

RED STATE (2011)

Kevin Smith goes ‘Grindhouse’ with this gnarly horror film where a group of horny teenagers are lured into a deadly trap that threatens their existence. Starts strongly exploring themes of religious mania and family values culminating in an incredible monologue delivered by Michael Park’s charismatic church leader. Latterly descends into a chaotic siege thriller shoot-em-up with crazy cultists versus the American authorities led by the always excellent, John Goodman. Smith’s trademark chitty-chatter dialogue is good, but kind of gets in the way (monologue aside) of the drama and humanity-as-horror of the piece. Mark: 7 out of 11.

THERE’S SOMEONE IN YOUR HOUSE (2021)

Extremely well written, directed and acted film which gets stuck between the rites-of-passage and slasher tropes, serving neither of these genres satisfactorily. There’s some alright kills, but overall feels like an inferior photocopy of Scream (2000) with little of the wit or meta-brilliance. Mark: 6 out of 11.

TIN & TINA (2023)

Featuring motifs relating to religion, fascism and family values, this interesting chiller ticks all the themes present in many Spanish horror films. As Lola (Milena Smit) and Adolfo (Jaime Lorente) suffer the tragedy of a lost child, they try to redeem their grief with the adoption of two blonde, shock-haired orphans raised by nuns. Driven by their naivete and religious fervour, Tin and Tina end up committing many questionable acts which threaten to send Lola over the edge. Beautifully filmed and scored, the director also builds an impressive sense of dread throughout, yet the film is ultimately denied a higher mark by the glacial pace and disappointing ending. Nonetheless, it is thought provoking with both the creepy kids and Christianity contributing to nail-biting scenes of high anxiety. Mark: 7 out of 11

Netflix, New Releases, Reviews

NETFLIX WINTER FILM REVIEWS including: MAESTRO (2023), LEAVE THE WORLD BEHIND (2023), SOCIETY OF SNOW (2023) etc.

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NETFLIX WINTER FILM REVIEWS

Good day! I have spent the last week or so concentrating my viewing around some recent Netflix releases. These films could be seen to be as Oscar-worthy products from the streaming behemoth. So, here are my reviews with the usual marks out of eleven.

*** MAY CONTAIN SPOILERS ***

BARDO, FALSE CHRONICLE OF A HANDFUL OF TRUTHS (2022)

Directed by Alejandro G. Iñárritu
Written by: Alejandro G. Iñárritu and Nicolás Giacobone

A slightly older new release on Netflix’s roster which I avoided watching due to the close-to-three-hour-running time. Plus my instinct it could be a pretentious and indulgent arthouse project by a brilliant director, Alejandro G. Iñárritu. Centring on Silverio Gama (Daniel Giménez Cacho), a Mexican journalist turned documentary filmmaker living in Los Angeles with his wife who reflects on his own life, job, politics, relationship and past. We are very much in the realms of Federico Fellini’s 8½ (1963) and Luis Bunuel with this surrealist and intellectual existential crisis film. Containing some incredibly imaginative visual sequences and thoughtful themes, the relentless stream-of-conscious ultimately bore me down and worst of all I just did not care about the main protagonist. Ultimately this proved to be a pretentious and indulgent arthouse project by a brilliant director.

Mark: 6 out of 11

LEAVE THE WORLD BEHIND (2023)

Directed by Sam Esmail
Screenplay by Sam Esmail – Based on the book by Rumaan Alam

Brilliant cast including Ethan Hawke, Julia Roberts and Mahershala Ali star in this anxiety-building-first-world-problem-apocalyptic-drama which finds middle class winners and their kids trying to overcome a series of strange events, such as no Wi-Fi and staring deer, while staying in a posh AirBnB holiday home. All empty suspense and chatter without much of a dramatic punchline overall. This only really comes alive cinematically with a neat Tesla pile-up set-piece and a slice of Kevin Bacon. Other than that, it is essentially a stage play on the big screen with pretty bland characters suspecting and accusing each other, for various reasons, with stunning cinematography. I enjoyed the production, but I didn’t care about anybody. Why the hell Kevin Bacon’s survivalist-scene-stealer was only given one major scene in the film is beyond me.

Mark: 6.5 out 11

MAESTRO (2023)

Directed by Bradley Cooper
Written by Bradley Cooper and Josh Singer

Clearly a labour of love to bring the life, relationships and music of Leonard Bernstein to the big screen by Bradley Cooper, Maestro (2023) contains some stunning filmmaking set-pieces, imaginative scene transitions and obviously a wonderful musical score. Cooper and Carey Mulligan are cast as Felicia Montealegre and Leonard Bernstein respectively, and both give compelling performances. Mulligan’s more so emotionally when compared to Cooper’s expert mimicry. The film’s structure is mainly bullet-pointed around their blossoming and then strifeful relationship during the later years. Bernstein’s music successes punctuate the ups and downs of this first world couple who I found difficult to warm to. Several grandstanding scenes with Mulligan galvanising feeling from her sheer acting craft do not save the film from lacking dramatic momentum. It is so well crafted that it is difficult not to admire everyone involved in the making of Maestro (2023). I just wanted more about the Bernstein’s way of working rather than who he had been sleeping with.

Mark: 7.5 out 11

SOCIETY OF THE SNOW (2023)

Directed by J. A. Bayona
Screenplay by J. A. Bayona, Bernat Vilaplana, Jaime Marques & Nicolás Casariego
Based on La sociedad de la nieve by Pablo Vierci

This expertly produced survival thriller centres on the tragic events of 1972, when a Uruguayan rugby team’s plane crashed in the Andes. Claiming the lives of twenty-nine friends and family with the survivors somehow managing to cling on to dear life for seventy-two days in freezing and deadly conditions. J.A. Bayona directs the action superbly in what must have been testing conditions for cast and crew. Further, the screenplay contains a certain poetry within the soothing delivery of the Spanish language voiceover. Obviously though there is nothing soothing about what happened to the human beings involved in the plane crash and the horrific choices they had to make to survive. It’s a true testament to the strength of the human spirit and will to live despite the freezing conditions and lack of food. Not the film’s fault but while dramatically compelling, it lacks narrative surprise for anyone who has seen Alive (1993). If you haven’t then Society of the Snow (2023) will have you psychologically gripped, eating away at your very emotional core.

Mark: 8 out of 11

MUBI, Netflix, New Releases, Reviews

SKY CINEMA REVIEW: MAY DECEMBER (2023)

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SKY CINEMA REVIEW: MAY DECEMBER (2023)

Directed by Todd Haynes

Screenplay by Samy Burch (Story by Samy Burch and Alex Mechanik)

Produced by Natalie Portman, Sophie Mas, Christine Vachon, Pamela Koffler, Grant S. Johnson, Tyler W. Konney, Jessica Elbaum and Will Ferrell.

Main Cast: Natalie Portman, Julianne Moore, Charles Melton, Cory Michael Smith, Elizabeth Yu, etc.

Cinematography by Christopher Blauvelt

*** MAY CONTAIN SPOILERS ***

The story of May December (2023) is set in 2015 against the sunny backdrop of Savannah, Georgia. Loosely inspired by the real-life Mary Kay Letourneau scandal, Natalie Portman is Elizabeth Berry, an actress who desires to study the lives of Julianne Moore’s Gracie Atherton-Yoo and her partner Joe Yoo (Charles Melton). Elizabeth is set to play Gracie in an indie film, with latter being infamous for her twenty-three-year-long relationship with Joe, which started when he was thirteen. With a hook like that I was intrigued as to where the story would go with such a controversial subject matter dealing with a convicted sex offender and illicit romance. Here lies a major thematic thumbprint of the filmmakers.

What unfolds is a superbly acted and understated drama which really gets under the skin and into the mind. While watching the ever-shifting points-of-view and identification with the characters May December (2023) became so compelling to me. Gracie is a convicted sex-offender, but she married Joe for love and they had children together after she left jail. But should she have acted on her desires and rejected Joe as a thirteen year old? The simple answer is yes, but it is more complex than that as presented here. Because the couple felt so much emotion for each other that Gracie was prepared to go to jail. This is what attracts Berry and she homes in on Gracie and Joe like the proverbial moth to a flickering bulb.

Structured around Berry’s methodical probing into the past events and Gracie and Joe, she quizzes them, their children, family, friends, work colleagues and legal team. As Berry researches further it becomes apparent she is getting obsessive and almost predatory herself. There are several very awkward scenes involving Berry, notably when she visits the pet store where Gracie and Joe used to work together. As Berry revisits the past she begins to loosen the stitches of old wounds, as both Gracie, and Joe especially, reflect and question the moral validity of their relationship.

I am sure when Natalie Portman and Julianne Moore read the script for May December (2023) they must have been doing back flips with creative excitement. Because it is clearly is a layered screenplay of the highest intelligence, ambiguity, dark humour and intensity by Samy Burch. Along with Melton they deliver on the script with three tremendous performances too. Moreover, acclaimed director Todd Haynes directs this tonally awkward story with a deft touch drawing on the constant grey areas of drama so expertly. May December (2023) may not be for everyone because the film is a slow burn without much in the way of dramatic closure. Conversely, so much of the drama occurs in the acting and script’s subtext, yet it remains a fine example of ambiguous cinema. Finally, the re-orchestration and use of Michel Legrand’s music for The Go-Between (1971) is a masterstroke.

Mark: 9 out 11

Netflix, New Releases, Reviews

NETFLIX FILM REVIEW: THE KILLER (2023)

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NETFLIX FILM REVIEW: THE KILLER (2023)

Directed by David Fincher

Screenplay by Andrew Kevin Walker

Based on: The Killer by Alexis “Matz” Nolent and Luc Jacamon

Produced by: William Doyle, Peter Mavromates, Ceán Chaffin

Cast: Michael Fassbender, Arliss Howard, Charles Parnell, Kerry O’Malley, Sala Baker, Tilda Swinton and Sophie Charlotte.

*** MAY CONTAIN SPOILERS ***

David Fincher is one of those filmmakers whose form and style is often unsettling and remarkable. He has built up a formidable body of directorial work over the years and his qualities were displayed perfectly in the Netflix FBI drama Mindhunter. Greens, dark yellows and browns stained the screen as Fincher and other series directors created a haunting stylistic palette. Furthermore, with the gripping narratives, great direction and memorable performances I just did not want the latest season of Mindhunter to end. Choosing to stay with the theme of death, Fincher now presents The Killer (2023), again released by Netflix.

Michael Fassbender is the unnamed assassin who has a specific set of rules. The film opens with him currently preparing for his latest job. He chimes and opines via a voiceover like a monk praying allowing us into his way of working. Methodical and meticulous, the ‘Killer’ waits patiently for the moment his planning comes to a head and he shoots. All the while he listens to songs by Mancunian indie band, The Smiths. The opening sequence is the strongest of the film and is a masterclass of visual storytelling, character work by Fassbender and suspense building. Inevitably, for a consummate professional and organiser, the hit goes awry and the ‘Killer’ find himself a target for death himself.

After such a memorable opening, reminiscent of one of Paul Schrader’s compelling existential-lone-man-in-a-room dramas, the remainder of the film is a more generic series of chases and fights enlivened by one stand-out acting duologue scene between Fassbender and Tilda Swinton. Moreover, for a character to have renounced emotional connections with anyone or anything, the ‘Killer’s’ motivations to wreak revenge on those who harmed his girlfriend seemed at odds with his governing principles. Also, for someone who is meant to “stick to the plan” he does improvise a fair amount. Putting my personal pedantry aside, this is a fine B-movie in the assassin crime subgenre with terrific work by Fassbender as the quirky killer and also Fincher, who even in second gear, is capable of delivering darkly compelling filmic entertainment.

Mark: 8 out of 11

Films That Got Away, Netflix, Reviews

FILMS THAT GOT AWAY #16: OFFICIAL COMPETITION (2021)

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FILMS THAT GOT AWAY #16: OFFICIAL COMPETITION (2021)

Directed by Gastón Duprat and Mariano Cohn

Written by: Mariano Cohn, Andrés Duprat and Gastón Duprat

Produced by: Jaume Roures

Main cast: Penélope Cruz, Antonio Banderas, Oscar Martínez, José Luis Gómez, Irene Escolar, Manolo Solo, Nagore Aranburu, Pilar Castro
Koldo Olabarri, etc.

Cinematography Arnau Valls Colomer

**MAY CONTAIN SPOILERS**

It’s no surprise there are an abundance of films about the actual process of filmmaking. The film industry is full of rich possibilities in terms of drama, action, tragedy, romance and comedy. Moreover, cinema down the years is replete with imaginative, tough, evil, spoilt, egotistical, eccentric, pretentious and frankly insane individuals working in the film industry. 8 1/2 (1963), Dolemite is My Name (2019), Shadow of the Vampire (2000), Sullivan’s Travels (1941), Barton Fink (1991), State and Main (2000), Once Upon A Time In Hollywood (2019), Hugo (2011), Living In Oblivion (1995), Boogie Nights (1997), The Disaster Artist (2017), Ed Wood (1994), The Player (1992), and Tropic Thunder (2008) are just a few brilliant films about filmmaking. Now you can add the hilarious Argentinian-Spanish co-production, Official Competition (2021) to that list.

With stunningly funny performances from Penelope Cruz, Antonio Banderas and Oscar Martinez, Official Competition (2021), centres on a film-within-a-film production, as Cruz’s ostentatious director, Lola Cuevas, helms a billionaire-backed-big-budget adaptation of a critically acclaimed book. Banderas is Felix Rivero, a famous movie star, while Martinez is a method-driven actor, and with the wildly unpredictable Cuevas between them, a rivalry soon develops between their different acting styles and personalities. As the production progresses any respect they had evaporates and descends into hilarious acrimony amidst a series of expertly staged comedic set-pieces.

I find it incredibly irritating that so many films get critical praise and win awards and you watch them and, while technically brilliant, they are ultimately boring and pretentious. Then we get Official Competition (2021), with a perpetually inventive screenplay by Mariano Cohn, Andrés Duprat and Gastón Duprat, that has not received nearly enough critical praise or awards. In fact, it mocks those artistically inflated directors and actors whom often get over-praised by fawning film critics and journalists. So, if you love films about filmmaking and funny ones at that, please do check this film out streaming on Netflix. It is certainly a cut above the pretentious films, actors and directors it is cleverly satirising.