Category Archives: New Releases

CAPTAIN MARVEL (2019) – MOVIE REVIEW

CAPTAIN MARVEL (2019) – MOVIE REVIEW

Directed by: Anna Boden, Ryan Fleck

Produced by: Kevin Feige

Screenplay by: Anna Boden, Ryan Fleck, Geneva Robertson-Dworet

Based on: Captain Marvel by Stan Lee, Gene Colan

Starring: Brie Larson, Samuel L. Jackson, Ben Mendelsohn, Jude Law, Djimon Hounsou, Lee Pace, Lashana Lynch, Annette Bening, Gemma Chan etc.

**MAY CONTAIN SPOILERS**

Not only am I getting comic-book movie fatigue, but I’m also getting comic-book movie reviewing fatigue too. I mean, what else can be said about said collection of films mostly delivered by Marvel and DC over the last decade? Plus, don’t forget the cavalcade of Marvel TV adaptations too on Netflix and other channels.

On the whole I have enjoyed the journey into the Marvel universe and the studio does deliver mostly cracking entertainment within a very solid genre formula. Of course, I can choose NOT to watch them due to being jaded, but I feel invested enough to complete the superhero cycle, especially where the Marvel films are concerned. Thus, with one eye on the Avengers: Endgame (2019) epic that is due for release very soon, I approached Captain Marvel (2019) with relaxed expectations, just out for a bit of a blast before the final Avenger chess pieces all meet to save the world – AGAIN!

Captain Marvel is a 1990s set action-drama prequel which presents a fast-paced couple of hours set in space and on Earth. It comes at a weird release time in the franchise as this kind of origins story has been done ad infinitum, plus the time it is set means much of what occurs could be deemed dramatically redundant. Nonetheless, it begins with a galactic soldier named Vers (Brie Larson), training with Jude Law’s battle-hardened mentor, Yon Rogg. They are part of a crack team of Kree fighting a shape-shifting enemy called Skrulls. These terrorists threaten the Kree civilisation and must be stopped at all costs. Allied to the main conflict, Vers is suffering post-traumatic stress via flash memories which cause her to question her past and identity. Following a planetary raid which goes awry, Vers is conveniently stranded on Earth, with the villains in pursuit. Here she joins forces with, whom else, Agent Nick Fury (Samuel L. Jackson), and then her literal journey of discovery really gathers pace.

Putting aside Marvel narrative fatigue I still managed to enjoy the movie immensely. Despite the story and plot weaknesses the final hour of action and battles sequences are very impressive. The first hour though finds the screenplay broken and confused. Indeed, like the character, the film is caught between two identities and also has tonal issues. It’s somehow trapped between the character driven, indie style of directors, Boden & Fleck, and the usual Marvel gags, pop music, alien artefacts and explosions shtick.

I loved that Danvers’ character and Brie Larson were given the chance to show depth of emotion; however, by presenting the story in a flashback-non-linear-amnesiac-plot-style, all emotional resonance was lost in the mix. Thus, the story became broken-backed trying to cover too many bases in the wrong order. For example, the empowerment montage, near the end, of Danvers’ character finding strength from overcoming past failures is terrifically planned and shot. It’s a shame though that it does not carry the dramatic weight it could have.

Having said that, there’s loads of stuff to enjoy, notably: some clever plot twists; a committed cast including the effervescent Larson and Jackson double-act; Ben Mendelsohn as the head shape-shifter, Talos; the Gwen Stefani-driven-pop-kick-ass-action in the final act; loads of great gags, especially the cat ones; plus, a bundle of Marvel in-jokes, call-backs and inter-textual references. Ultimately, Captain Marvel, is a very solid work of entertainment which, while opening up the whole “where was Captain Marvel until now?” plot hole, manages to fill the gap enjoyably before the whole game finally comes to an end.

Mark: 8 out of 11

CINEMA FIX MARCH ROUND-UP – INCLUDING REVIEWS OF: THE KINDERGARTEN TEACHER (2018), ON THE BASIS OF SEX (2018) & CAN YOU EVER FORGIVE ME (2018)

CINEMA FIX REVIEWS – MARCH 2019 ROUND UP

Double busy recently with the cinema going, so here are a few reviews of the films I’ve watched this last month; all marked out of the usual eleven.

**CONTAINS MINIMAL SPOILERS**

THE KINDERGARTEN TEACHER (2018)

Maggie Gyllenhaal is brilliant once again as the titular lead protagonist who, in the midst of a mid-life crisis, discovers a young poetry prodigy and seeks to vicariously find meaning through the 5 year old boy. On the one hand an intelligent character drama, while on the other a tense, psychological arthouse thriller, The Kindergarten Teacher is a fascinating watch. Gyllenhaal radiates class in her performance, although her characters’ poor life choices toward the end made for some uncomfortable viewing. The narrative burns slowly but contains some great images and makes excellent observations about art, authorship and the sanctity of the teacher-pupil relationship. A remake of an Israeli film of the same name, Gyllenhaal is such an impressive actor, able to elicit empathy even when events turn dark at the denouement.

Mark: 8.5 out of 11

CAN YOU EVER FORGIVE ME (2018)

Melissa McCarthy and Richard E. Grant are on excellent form in this “based on a true story” narrative concerning Lee Israel, a hard-up author and drunk, who forges a secondary career as a woman of letters. The only problem is they are not her letters. The smart script is full of fine dialogue exchanges, notably between Grant and McCarthy, however, the story left me cold as a whole. Indeed, I would say this is one of those over-rated independent features which gives time to an onerous human being who doesn’t deserve the time of day really. Despite the quality of the production I did not care for Israel, even from an anti-heroic perspective, and there just wasn’t enough drama for me throughout.

Mark: 7 out of 11

ON THE BASIS OF SEX (2018)

This is what I call a classic “Trailer Film.” Once you’ve seen the trailer – you’ve seen the film. The cast are uniformly decent in this biopic of the trailblazing lawyer, Ruth Bader Ginsburg who fights, quite rightly, to break down the barriers between the sexes in society. Felicity Jones is impressive in the lead role and fine support comes from Armie Hammer and Justin Theroux. For all her incredible work I think Ruth Bader Ginsburg deserved a more interesting biopic because dramatically this is very much cinema-by-the-numbers. As a genre film it never really hits the heights of other more compelling courtroom dramas, with a soporific and tediously linear script, and a visual style more suited to an episode of Law and Order. Ultimately, it’s a credible tribute to a great legal mind who helped change society for the better, but dull as dishwater from a narrative and cinematic point-of-view.

Mark: 6 out of 11

کفرناحوم‎ / CAPERNAUM / CHAOS (2018) – CINEMA REVIEW – One of the most heart-breaking films you will ever see!

کفرناحوم‎ / CAPERNAUM / CHAOS (2018) – CINEMA REVIEW

Directed by: Nadine Labaki

Produced by: Michel Merkt, Khaled Mouzanar

Screenplay by: Madine Labaki, Jihad Hojaily, Michelle Keserwany

Cast: Zain Al Rafeea, Yordanos Shiferaw, Boluwatife Bankole, Kawthar Al Haddad, Fadi Kamel Youssef, Nour El Husseini etc.

Cinematography: Christopher Aoun

Editing: Konstantin Bock

**MAY CONTAIN SPOILERS**

The recent Oscars brought up more than its’ fair share of ceremonial, broadcast and social media celebration and moaning from the film creatives, public, critics and privileged millionaires alike. But hey everyone’s entitled to their opinion and has the freedom of speech to express said opinions about what should and shouldn’t win such frivolous industry trinkets. It’s a bit of fun and gets everyone talking about movies, society and life, which is always a good thing.

Yet, every now and then a film comes along which, while nominated for an award, does not win the prize it deserves. That film is the heart-ripping, social drama Capernaum (2018). This Lebanese film is one of the most emotonally impactful films I have ever seen and should not just have won ‘Best film in a Foreign Language’ at the Academy Awards, but should have won ‘Best Film’, in my humble view. While Roma (2018) was an expertly crafted love letter to Cuaron’s childhood and the women he grew up with, its’ characters are very passive and the slow moving style left me feeling tepid. Capernaum, on the other hand, is anything but tepid, as its’ hero is a dynamic firebrand who you cannot help but root for.

Set in contemporary Lebanon, the story is structured around a court-case where lead protagonist, Zain, a twelve or thirteen year old boy, is seeking to divorce his parents. Extensive flashbacks then reveal why Zain feels this strongly about his life and the hell he has to endure to survive and protect those he loves. Zain’s existence, like many street kids, refugees and families in Beirut, struggle daily under threat of death, disease and exploitation. When his younger sister is sold by his parents to their landlord to prevent eviction, Zain goes crazy. Following a violent row he is thrown onto the streets and is left to fend in the dirt and shadows. He find kindred friendship with Rahil, an undocumented Ethiopian woman, and Zain helps mind her young son, Yonas. Here the narrative screw is really turned as their lives spin further out of control.

With incredible scenes of documentary realism the director Nadine Labaki has delivered such a powerful in your face and frantic style. The streets of Beirut become a legal, social and religious prison for the characters, as forgers, paedophiles and traffickers threaten to rob the souls and bodies of Zain and his like. Moreover, the narrative makes incredible points regarding existence, posing whether people should be brought into the world to such suffering. Indeed, not all characters are as tough as Zain, who’s caring, resourceful, cheeky, tough, entrepreneurial and a born fighter.

I cannot speak highly enough of this film. If I ever feel down about my over-privileged life, then I just need to think of these characters and I will be humbled. For sure it is over-the-top in its’ melodramatic depiction and there are some unlikely narrative elements toward the end, but I did not care about those. It moved me immensely and the director and filmmaking team deserve so much credit turning twelve hours of shooting footage into such a coherently moving portrayal of existence. They even find time for some humour amidst the tragedy. Further, the actor who gave us Zain is himself a refugee and had never acted before, so to capture such energy on screen is amazing. Lastly, next time I selfishly think “my life sucks”, I will picture Zain pulling Yonas around the dusty streets of Beirut in an aluminium pot and be completely humbled.

Mark: 10 out of 11

BOY ERASED (2018) – CINEMA REVIEW

BOY ERASED (2018) – CINEMA REVIEW

Directed by: Joel Edgerton

Screenplay by: Joel Edgerton – Based on: Boy Erased: A Memoir by Garrad Conley

Produced by: Joel Edgerton, Steve Golin, Kerry Kochansky Roberts

Cast: Lucas Hedges, Nicole Kidman, Russell Crowe, Joel Edgerton, Joe Alwyn, Xavier Dolan, Cherry Jones, Flea etc.

**MAY CONTAIN SPOILERS**

It never fails to sadden me the horror that other human beings inflict on each other out of ignorance, intolerance and misguided indoctrination. Boy Erased (2018), is a film that highlights such negative practices committed by parents on their actual children because they are perceived to be abnormal in their eyes and the rules of their faith. I’m not religious but respect those who have different beliefs to me, unless of course those beliefs are used to castigate and punish other human beings. Surely, the basic tenet of any religion, including Christianity, should be kindness, understanding and forgiveness. When such integral ideals are broken then such doctrine should be shunned and held up for criticism.

Boy Erased is based on Garrad Conley’s memoir of how his religious parents send him for gay conversion therapy, and the film is structured around the sad events which occurred to Garrad. Conley’s persona and emotional strife is evoked brilliantly in the character of Jared Eamons. Portrayed with sensitivity by the talented Lucas Hedges, the humanity and empathy he delivers is highly impactful. Jared is an innocent who is undeservedly thrust into an unnatural and bullying environment, forcing him to change his sexual identity through shame and persecution.

The main thrust of the film finds Jared at the assessment centre and this brings about some harrowing scenes where young men and women are effectivelly imprisoned and vilified in the name of God. While certain scenes are emotionally charged and disturbing the film could have gone even further, however, director Joel Edgerton wisely opts for more subtlety rather than “fire and brimstone” tabloid filmmaking. Indeed, Edgerton and his cinematographer opt for a drained colour scheme and natural lighting style to evoke realism within the action.

Edgerton not only directs and writes with purpose, but also casts himself as the main antagonist and lead “therapist”, Victor Sykes. Sykes is seen as dominating but ultimately weak-willed, deflective and controlling. As Jared’s parents, Nicole Kidman gives a solid performance in the role of his conflicted Mother, while Russell Crowe imbues his preacher with both religious fervour and a sense of torn loyalty. Jared’s parents, in the end, are not bad people. They have just been faced with a difficult situation and are advised badly by their faith and Church.

Ultimately, this is a quietly compelling character drama which highlights very important issues in regard to faith, sexuality and family. I’m not sure why it wasn’t acknowledged more by the Academy Awards, notably in Lucas Hedges fine performace. Nonetheless, it is an important story which is constructed with care. Rather than demonize families and religion, it seeks to highlight and campaign for education, tolerance and love. These things, for me, are what true faith should be about.

Mark: 8.5 out of 11

IF BEALE STREET COULD TALK (2018) – CINEMA REVIEW

IF BEALE STREET COULD TALK (2018) – CINEMA REVIEW

Directed by: Barry Jenkins

Produced by: Megan Ellison, Dede Gardner, Jeremy Kleiner, Adele Romanski, Sara Murphy, Barry Jenkins

Based on: If Beale Street Could Talk by James Baldwin

Starring: Kiki Layne, Stephan James, Colman Domingo, Regina King, Teyonah Parris, Michael Beach, Pedro Pascal etc.

Cinematography: James Laxton

Music: Nicholas Britell

**MAY CONTAIN SPOILERS** 

Barry Jenkins is clearly a talented filmmaker who is striving to transcend the boundaries between art and craft where cinema is concerned. His second feature film Moonlight (2016), was a critical smash and a sleeper box office hit, subsequently going on the win the Best Film nod at the Academy Awards. Whether it was worthy of such as award is another matter, but it was certainly a tremendous work of cinema. The rites of passage story was delivered by Jenkins with imaginative choices in casting, structure, look, music and all-round filmic endeavour.

His latest film, If Beale Street Could Talk, is equally stylish and artfully rendered, but not as emotionally impactful as Moonlight. Indeed, while this is in fact his third feature, Beale Street seems to suffer from classic “2nd album syndrome”, inasmuch as Moonlight set the bar so high, it was going to be a difficult act to follow. Moonlight felt like years of heart and passion thrusted upon the screen, as Beale Street struggles to maintain that said peak. That isn’t to say that the film is not without its virtues as Jenkins once again proves himself a brilliant director.

Barry Jenkins’ IF BEALE STREET COULD TALK, an Annapurna Pictures release.

Set in 1970s, Harlem, New York and based on James Baldwin’s novel, the main protagonists are young working class couple Tish (Kiki Layne) and Fonny (Stephen James). Very much in love we open with Tish’s poignant voiceover and a wonderfully lush score supporting the urban and industrial, yet beautifully shot, imagery. Immediately, we realise Jenkins, while basing his story in realism, is presenting his film poetically. Further, Tish’s voiceover lilts and glues the elliptical, non-linear narrative together.

As with Moonlight, Jenkins uses direct address, the characters looking straight back at us drawing us into their emotional core. One may argue the device is over-used and at times distances us from the pace of the story. As Tish recounts events of her and Fonny’s relationship from childhood friends to their currently plight, you really feel a palpable sense of love, but sometimes it moves so painfully slow. Furthermore, the non-linear structure and stylistic devices also undermined the drama of the piece. Indeed, the best scene of the film in my opinion is near the beginning when Tish and Fonny’s family clash over her pregnancy. In this scene the insults spark and spit off the screen; but alas this conflict is sadly under-developed and not revisited later in the film.

Overall, there is a great story here involving: love, romance, social unrest, police brutality, unlawful arrest and injustice, racism, family strife, hope and loyalty; however, Jenkins artistic desires build the narrative in a way that diverts emotion into the cinema style, more so than the characters. Having said that, he is a filmmaker of some brilliance and he gets fantastic performances from the fine ensemble cast, notably the magnetic Regina King. Ultimately, while the story is told slightly pretentiously for my liking,
If Beale Street Could Talk, is a finely tuned work of poetic realism. 

Mark: 8 out of 11

GREEN BOOK (2018) – CINEMA REVIEW & OSCAR BINGO #4

GREEN BOOK (2018) – CINEMA REVIEW

Directed by: Peter Farrelly

Produced by: Jim Burke, Brian Hayes Currie, Peter Farrelly, Nick Vallelonga, Charles B. Wessler

Written by: Nick Vallelonga, Brian Hayes Currie, Peter Farrelly

Starring: Viggo Mortensen, Mahershala Ali, Linda Cardellini

**MAY CONTAIN SPOILERS**

I have to be honest I am getting very tired of racism and racists, so lord knows how the people who it affects deal with it on a day to day basis. To judge and attack people because they have a different race, background or skin colour is, and has always been, the height of stupidity. We are all humans and should be judged on our actions and behaviour and NOT our physical appearance, social background, sexuality or gender. Furthermore, we must not treat someone a certain way based on general experience of how others behave too. I subscribe to individualistic judgement and the desire for peaceful attempts to resolve conflict and differences. Those that attack and bully and abuse any other human being are wrong and their minds must be changed.

If a feel-good film such as Green Book (2018) can at the very least change one person’s negative attitude then it will be a success. It makes very broad points in regard to race relations and while arguably simplistic, in the very fabric of its story remains a heartwarming call for tolerance, understanding and friendship. Directed by Peter Farrelly, Green Book is based on the true story of Dr Don Shirley, a genius musician, and his brave trip across the deep South of America in 1962 with working class Italian driver, Tony “Lip” Vallelonga. Safe to say the road tour is not without its ups and downs and the men, after initial differences, find common ground, loyalty and friendship.

BEST PICTURE CHANCES – 8/10

As aforementioned in a previous review I would say Roma (2018) will probably win best film at the Academy Awards. Green Book has a decent chance based on the sheer energy and persuasion of the story. Moreover, it attempts to marry comedy with social drama and on the whole succeeds. Peter Farrelly directs with skilled aplomb and the guy is a past-master of the road movie genre with films such as: Dumb and Dumber (1994), Kingpin (1996), There’s Something About Mary (1998) and Me Myself and Irene (2000), all comedies which adhered to road movie genre tropes. I guess that’s one thing that holds Green Book back and that is it’s very “by-the-numbers”, however, that’s also one of the joys of the story in that it hits the heights of genre expectations so well. Finally, Farrelly marshals the road trip, musical gigs and period setting really impressively and film made me feel all glowy by the end.

ACTOR IN A LEADING ROLE CHANCES – 8/10

Viggo Mortensen is such an intelligent actor and has often been cast in intense roles which require much internal conflict. Here, his Tony Lip, is a larger-than-life Italian tough guy, handy with the bullshit and his fists. He eats like a horse and loves his family. Further, he’s stand-up guy who won’t be dragged into the Mafia underworld no matter how broke he is. The character verges on the Italian stereotype we have seen many times before but Mortensen imbues the lovable rogue with a humanity, humour and a do-the-right-thing spirit throughout. It’s his journey we follow as he moves from prejedicial jerk to something more socially acceptable. Lastly, Mortensen’s scenes with Ali are just brilliantly acted; the two bouncing off each other with wit and perfect timing.

ACTOR IN A SUPPORTING ROLE CHANCES – 10/10

Mahershala Ali should win this. He is absolutely outstanding. While Mortensen’s character is big and splashed across the screen in ebullient effervescence, Don Shirley quietly steals the show. His erudite, intellectual and refined exterior hides a pained and lonely soul who just does not fit in to society anywhere. While his music is loved and his genius revered he just cannot find inner peace. I mean I know nothing about playing the piano but Ali impresses here too with his conveyance of the musicianship of the character. Lastly, Ali’s performance is one of the best of the year, and while he won previously for Moonlight (2016), this performance is so good he should be on the list of leading actor role nominations.

BEST SCREENPLAY CHANCES – 8/10

The structure of the screenplay adheres to the classic Hollywood model to a tee. There are few surprises as the set-up of two opposite characters meet and go through a literal and figurative journey of discovery and change. Along with the lead performances, what raises the story though, is a fizzing script full of conflict and comedy. We get set-up-punchline, set-up-drama, set-up punchline, set-up feelgood moment throughout, making it a metronomically impressive piece of writing. The letter-writing running gag, for example, is pure comedic gold. Moreover, the script is littered with tremendous dialogue exchanges between the lead roles and ensemble characters which had me laughing and emoting throughout. Perhaps, historical and political accuracy could be queried by some and there is a reliance on familiar archetypes, but that doesn’t interfere with a zinging story.

CONCLUSION

Green Book is a film that has its chicken and eats it. It is full of life, food, music, family, friendship while making important points about racial issues. It also raises many laughs with heartwarming poignancy, highlighting the inequalities of 1960s with a broad hand. While these issues are not as intriguingly addressed as in BlacKKKlansman (2018), they elevate the generic road-movie-opposites-buddy-bromance tropes and structure. More than anything this is a story about friendship and while it treads a well worn road, mirroring films such as Planes, Trains and Automobiles (1987) and Midnight Run (1988), it does so with verve, humour and heart.

Mark: 9 out of 11

VELVET BUZZSAW (2019) – NETFLIX FILM REVIEW

VELVET BUZZSAW (2019) – NETFLIX FILM REVIEW

Written and directed by: Dan Gilroy

Produced by: Jennifer Fox

Starring: Jake Gyllenhaal, Rene Russo, Toni Collette, Tom Sturridge, John Malcovich, Zawe Ashton, Daveed Diggs, Billy Magnussen, Natalia Dyer etc.

Picture the scene: a starving child in Africa passively stares at a camera while a fly irritates their big sad eyes, and they do not know when their next meal is coming from. Meanwhile, in a New York auction house a painting by Cezanne or Gauguin or Picasso is selling for over $200 million dollars! What the fuck is wrong with the world?!  I’m not saying these paintings aren’t great art it’s just that there is NO WAY that amount of money should be paid for a painting when there is starvation, disease, and poverty in the world. It’s just an indictment of the sickness of humanity, that we place such value on what effectively amounts to canvas and paint placed in a particular manner by some dead person. It’s utter madness!!

DON’T GET ME STARTED ON SO-CALLED MODERN ART!!

Yeah, sure, maybe I DON’T GET IT!! Maybe one should be allowed to express themselves from a creative and emotional perspective but THEY ALSO WANT PRAISE FOR IT!!! And MONEY! And adulation! Of course, certain painters, sculptors and creative types expressing themselves can become a transcendental experience but mostly it’s a bunch of pretentious wankers conning us into thinking what they are doing is important. Come the fictitious revolution occuring in my imagination, most modern artists will be on the hypothetical spikes adorning the made-up barricades.

Tony Gilroy’s third film Velvet Buzzsaw (2019) taps into some of the ire I feel for the art world. It’s full of fake plastic and unlikable characters who spend their days stabbing and fucking each other in the back, all trying to sell us the next big fat artistic lie. When a never-famous painter dies his work becomes a cause celebre and further in-fighting ensues in an attempt to monetize his apparent genius. Jake Gyllenhaal leads an impressive ensemble cast as arsehole critic, Morf Vandewalt; while Rene Russo, Toni Collette, Tom Sturridge, John Malcovich and Zawe Ashton revel in their narcissitic and parasitic roles as agents, artists and art-whores.

Ultimately, this is a very broad comedic satire with some decent horror deaths thrown in. At times I felt like it should have been shot with a cast of unknowns on 16mm film, rather than the A-list hi-definition gloss presented. Firmly in the B-movie territory of say Final Destination and Driller Killer, it’s neither scary or bloody enough to make a convincing horror or gorefest. Having said that there are some fantastic deaths, very witty dialogue and memorable images throughout. Lastly, Gilroy’s work has kind of gone backwards since his phenomenal debut Nightcrawler, and this, without wishing to sound like a pretentious critic, is certainly a very minor work. Overall, though I enjoyed the coruscating digs at the modern art-world and all the arseholes who inhabit it; so that made it well worth a watch.

Mark: 7.5 out of 11