Tag Archives: Cinema Fix review

Netflix, Reviews, Television

NETFLIX TV REVIEW: INTO THE NIGHT (2020)

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NETFLIX TV REVIEW: INTO THE NIGHT (2020)

Directed by: Inti Calfat and Dirk Verheye

Written by Jason George – based on the novel The Old Axolotl by Jacek Dukaj

Cast: Pauline Ettienne, Laurent Capulletto, Stefano Cassetti, Nabil Mallat, Jan Bijvoet, Vincent Londez, Babetida Sadjo, Mehmet Kurtulus, Alba Gaia Bellugi, Regina Bikkinina, etc.

Distribution: Netflix

****MAY CONTAIN SPOILERS ****

Netflix’s first Belgian original production series is an inspired adaptation of Jakub Dukaj’s electronic science fiction work, The Old Axolotl. While that work may be a digital release about a post-apocalyptic Earth, Into The Night (2020), is not a futuristic tale, but rather a very contemporary one set in the now. Opening in the Brussels airport the suspense is ratcheted up from the start when a NATO Officer, Terenzio Gallo, takes a Moscow bound plane hostage at gunpoint. Frantic and dangerous he orders the pilot and crew to take off immediately as they are all in danger. I won’t reveal what that danger is for fear of spoilers. What I can say is though these six episodes are one hell of a thrilling and panic-stricken plane journey.

Jason George’s excellent adaptation is written as a fast-paced disaster movie over six sharp episodes. Given the characters convene at an airport and the Brussels office of the United Nations is close by, the narrative establishes an ensemble of various nationalities including: Polish, Italian, Belgian, French, Turkish, Russian, Moroccan and in later episodes, English. Indeed, as well as the environmental threat and technological challenges the characters face, national identities and cultural clashes drive the drama of the series. The various personalities may be facing impending doom from an unknown source, while flying thousands of feet in the air, yet they cannot put their petty prejudices aside and this leads to much trouble. Amidst the in-fighting though some solidarity is found as the passengers and crew overcome a plethora of suspenseful moments and situations.

I personally cannot stand flying. Thus, my heart was literally in my mouth throughout this exciting series. The acting, action, direction and editing are all extremely well delivered, and I can safely say that this is one of Netflix’s winners. The threat the humans face is also very believable too. Furthermore, a classic disaster movie trope is to give the characters enough depth to bring you into their personal stories. Each episode is named after a character and is accompanied by a mini-flashback establishing their back story. We get one character seeking romance, one facing grief, another having an affair, a mother attempting to save her sick son, and so on. While these are very much standard types within the genre, the breathless pace of Into The Night (2020) leaves you dizzy from both the high altitude and anxiety.

Mark: 8.5 out of 11

Cinema, Classic Film Reviews, Reviews

CLASSIC HORROR FILM DOUBLE BILL REVIEW – BLACK SUNDAY (1960) & BLACK SABBATH (1963)

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CLASSIC HORROR FILM REVIEWS – BLACK SUNDAY (1960) & BLACK SABBATH (1963)

What better way to distance oneself from the horror of real life than by watching some classic horror films? Not that my life is that bad as I am alive and healthy and doing very well in the lockdown circumstances. Thankfully I am not having to deal with the sick people like those in the NHS and medical facilities across the world. Kudos to those individuals trying to save lives and cure the sick. Who could have predicted that these events could unfold? It’s like society has been cursed.

Talking of curses, the horror genre is one of my favourites. Although, to be honest, I do love most genres of film. Indeed, while I’m not a massive fan of romance or musicals, if the film itself is well made, then I will watch and most likely enjoy it. However, if I want to be sure to favour a film, then horror will be one of my go to genres. One such legendary filmmaker of horror movies was Italian director, Mario Bava. I’m ashamed to admit I had not seen many of his releases, if any. Shocking really as he was known by many as the ‘Master of Italian horror’. Thus, I corrected that by recently watching both Black Sunday/Mask of Satan (1960) and Black Sabbath (1963). Here are two short reviews of these atmospheric horror classics.

Best Horror Movies of the 1960s: From Psycho to Blind Beast | Collider
Black Sunday (1960)

BLACK SUNDAY (1960)

Director: Mario Bava

Cast: Barbara Steele, John Richardson, Andrea Checchi, Ivo Garrani

Given Mario Bava was a talented cinematographer who worked on many Italian film productions it’s no surprise that Black Sunday (1960) looks incredible. The transfer I watched on Blu-ray was pristine with the black and white photography really shimmering on the screen. The lighting is all shards and jagged amidst the foreboding darkness and shadows. The story itself is a creepy gothic tale of curses, witchcraft and revenge. It starts with a grim opening scene as Asa, a witch (Barbara Steele), and her lover being punished by her brother for sorcery. This involves placing a spiked mask on their faces and burying them alive. She damns them to hell with the promise she will return one day to wreak retribution. Guess what happens centuries later? While it runs out of story toward the end the opening hour is full of scary imagery and chilling moments. While it may seem mild by today’s standards, Black Sunday (1960), was in fact heavily censored on release and was even banned in the United Kingdom until 1968. While today’s horror films rely much on cheap jump scares, this one is a good old-fashioned creepfest, spreading a pervading aura of fear from start to finish.

Mark: 8 out of 11

BLACK SABBATH (1963)

Director: Mario Bava

Cast: Boris Karloff, Mark Damon, Michele Mercier, Susy Anderson, Jacqueline Pierreux etc.

The original title of this film was The Three Faces of Fear and this is a much more compelling title than the one we got. Don’t get me wrong Black Sabbath (1960) works, but given this is an anthology featuring three short horror films relating to fear, it seems like a marketing ploy echoing previous horror Black Sunday (1960). Anyway, the three stories are very different in setting and tone but all work well with Boris Karloff introducing them. The first is a pre-Giallo style contemporary murder story called The Telephone. Here a glamorous call-girl is stalked by an unknown person via constant telephone calls. It’s a slow burn build up of fear, as silence then sudden ringing raises the heartrate before the fine twist at the end. The second story is called The Wurdalak. A more traditional vampire story, it finds a handsome nobleman falling in love with a rural village girl, whose family are threatened by a bloodsucking Wurdalak. This was so creepy as we get severed heads and vampiric children in a story which reminded me of Stephen King’s Salem’s Lot. The final story, The Drop of Water is arguably the best. With more than a hint of The Tell-Tale Heart about it, the story finds a nurse stealing something from a dead woman, only for the vengeful ghost (or her guilty conscience) to take exception. Overall, this is a brilliant anthology horror film, which is still scary now and definitely stands the test of time.

Mark: 9 out of 11

Amazon Prime, Cinema, Reviews

AMAZON FILM REVIEW – THE AERONAUTS (2019)

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AMAZON FILM REVIEW – THE AERONAUTS (2019)

Directed by: Tom Harper

Produced by: Todd Liebermann, David Hoberman, Tom Harper

Written by: Jack Thorne – based on the book Falling Upwards: How We Took To The Air by Richard Holmes

Cast: Felicity Jones, Eddie Redmayne, Himesh Patel, Tom Courtenay, Tim McInnerny, Anne Reid, Phoebe Fox, Robert Glenister etc.

Cinematography: George Steel

***CONTAINS MILD SPOILERS***

Obviously, with all the cinemas quite rightly shut, one now has to look about the streaming platforms for films missed when first released. While not a massive cinema release, The Aeronauts (2019) was a big budget Amazon original production, thus fits the bill perfectly. Based on true events set in London, circa 1860’s, this period adventure drama focusses on intrepid pilot, Amelia Wren (Felicity Jones) and budding meteorologist, James Glaisher (Eddie Redmayne), as they attempt to conquer the sky and elements in a hot air balloon. Their overall aim is to fly a balloon higher than it ever has, while Glaisher attempts to make scientific progress in regard to predicting the weather. It doesn’t sound that interesting when you put it like that, but how wrong was I?

Now, I am not a fan of adventurers or flying or heights. Therefore, The Aeronauts (2019), did not really interest me as a film narrative. However, I am glad I watched it, as it proved one’s prejudices against themes or subject matter can be short-sighted. Indeed, Jack Thorne’s intelligent script and Tom Harper’s cute direction really pull you into this high-flying and breath-taking drama. While the special effects are amazing, as you are given all manner of exciting and dangerous moments for the lead characters, the real power lies in the empathetic and heartening characterisations. Moreover, Felicity Jones and Eddie Redmayne give tremendously warm and energetic performances. Both their protagonists not only battle against the dangers in the balloon, but also against fierce patriarchal and scientific hierarchal rivals on the land. Lastly, in Amelia Wren’s case, she fights against deeply painful emotions relating to grief and sacrifice too.

Jack Thorne’s script frames events from the spectacular launch of the giant balloon, and the air journey itself provides the spine of the story. Throughout though, the film flashes back and forth between the voyage and Amelia and James’ past. At times I felt the flashbacks hindered the momentum of the adventure, but I recognised they were essential in order provide history and texture. Nonetheless, the amazing skyline vistas and horizons are impressively rendered by the special effects’ personnel. Also, the suspense is palpable as Amelia and James’s lives are threatened constantly by the unpredictable weather conditions. Jones and Redmayne’s on-screen chemistry is especially good as they initially argue, before finding common ground and mutual respect. Jones herself gives a very magnetic performance full of vulnerability and strength. While Amelia Wren is a fictional character compared with James Glaisher, she remains a powerful one. Ultimately, The Aeronauts (2019), is a classic adventure story with a grounding in scientific discovery, but above all else, contains exciting spectacle and a very moving emotional core.

Mark: 8.5 out of 11

Amazon Prime, Reviews, Television

AMAZON TV REVIEW – THE ACT (2019) – another shocking American drama based on true events!

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AMAZON TV REVIEW – THE ACT (2019)

Created by: Nick Antosca & Michelle Dean

Writers: Nick Antosca & Michelle Dean, Dan Dietz, Robin Veitch, Lisa Long, Heather Marion

Directors: Laure DeClermont-Tonnerre, Adam Arkin, Christina Choe, Steven Piet, Hannah Fidell, etc.

Cast: Joey King, Patricia Arquette, Chloe Sevigny, AnnaSophia Robb, Calum Worthy, Dean Norris, Denitra Isler, Margo Martindale etc.

Original Network: Hulu (US) – Starz/Amazon (UK)

*** CONTAINS SPOILERS ***

Film & Television Photographer Brownie Harris

The capacity for human beings to lie and fake and forge simply knows no bounds. Clearly lying is bad, as it disintegrates trust in families, relationships and society in general. We should all strive for truth. But before one judges and jumps to conclusions there can be mitigating circumstances for lies. It could be a good lie. A lie that protects someone from the horrors of reality or a bad situation. It could be a falsehood which is worth denying in order to circumnavigate a tricky moment. This last example is a subjective decision though. But what if you’re not in your right mind? What if you have a mental illness? Does this forgive the darkest lies you tell or present? No, but it does explain why you’ve told such untruths.

Hulu’s exceptional true-life drama, The Act (2019), centres on a character who is both a liar and mentally disturbed. You would not know from the outside but Dee Dee Blanchard (Patricia Arquette) was a very troubled person. A seemingly loving single mother to a teenage daughter, Gypsy Blanchard (Joey King), Dee Dee unfortunately has to cope with Gypsy’s myriad of medical issues which leave her in a wheelchair and unable to feed herself. But Gypsy is actually incredibly healthy. Her mother has in fact been drugging and faking and benefiting financially from harming her daughter for years. Clingy, controlling and manipulative of her daughter’s every movement, routine and personal interactions, Dee Dee never wants her daughter to grow up. She wants a permanently powerless child and vicariously feeds off all the sympathy this brings. Yet Gypsy is growing up and she wants to do her own thing. Her body is changing and so are her desires. Something had to give.

Over eight brilliantly written and directed episodes, The Act (2019), unfolds as a powerful human tragedy. The story begins in 2015 with a serious crime; someone has been hurt. It then flashes back to when Dee Dee and Gypsy moved from hurricane hit New Orleans to Springfield, Missouri in 2008. Moving consummately back and forth in time the structure builds the drama very well. I genuinely couldn’t believe that someone would do that to their own child. Then, just when you think the story cannot twist any further the events take an even stranger and darker fall. Unsurprisingly, Patricia Arquette won an Emmy for her performance as the tragic faker, Dee Dee. Arquette inhabits the skin of this unhinged mother chillingly. But she’s not a scary monster, more one that subtly gets right under the skin. Joey King as Gypsy is equally brilliant as the co-dependent daughter, ultimately driven to extreme and shocking behaviour by her mother’s lies and twisted vision of love.

Mark: 9 out of 11

Amazon Prime, Films That Got Away, Reviews

FILMS THAT GOT AWAY #8 – DRAGGED ACROSS CONCRETE (2018)

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FILMS THAT GOT AWAY #8 – DRAGGED ACROSS CONCRETE (2018)

Written and directed by: S. Craig Zahler

Produced by: Sefton Fincham, Jack Heller, Tyler Jackson, Keith Kjarval, Dallas Sonnier

Cast: Vince Vaughn, Mel Gibson, Tory Kittles, Michael Jai White, Jennifer Carpenter, Laurie Holden, Don Johnson, Thomas Kretschmann etc.

Cinematography: Benji Bakshi

*** MAY CONTAIN SPOILERS ***

As a major fan of S. Craig Zahler’s first two film releases, namely Bone Tomahawk (2015) and Brawl in Cell Block 99 (2017), I was really looking forward to another example of pulpy, slow burn and hard-bitten genre filmmaking with Dragged Across Concrete (2018). Thus, I was very upset when I found out the Mel Gibson and Vince Vaughn starring cop drama was not released in UK cinemas. I finally caught up with it on Amazon Prime and, while it was probably too long, it was a hypnotically powerful crime thriller.

Set in the city of Bulwark, the film opens with a lengthy preamble which introduces disparate characters whose paths are destined to cross later in the film. These include recent parolee, Henry Johns (Tory Kittles), grizzled-long-in-the-tooth-cop, Brett Ridgeman (Mel Gibson) and his younger, but equally cynical partner, Anthony Lusaretti (Vince Vaughn). Later, Zahler throws professional criminal, Lorentz Vogelmann (Thomas Kretschmann), and his dressed-in-black crew into the dark city soup. After a glacial set-up, the plot kicks in when Ridgeman and Lusaretti are suspended for what is perceived as a racially motivated attack on a suspect. Desiring a way out of the neo-noir and industrial decay, Ridgeman sets up a plan to steal from Vogelmann’s gang. Safe to say that given this is a Zahler film, we do not end up with a soft toy and candy apple ending.

Throwing a succession of anti-heroes at the audience and a litany of cursing and politically incorrect language makes Dragged Across Concrete (2018) a morally questionable film to experience. Do not watch if you are easily offended. Nonetheless, my feeling is Zahler, like Tarantino, is reflecting the world as it is rather than how it should be. Humanity is in the gutter and the only way out of it, in his mind, is to swear and fight and steal and kill. That isn’t to say that the characters are not empathetic. As Zahler’s hard-boiled dialogue is very poetic in places it draws you to them in a way Raymond Chandler used to do. Similarly, the performances from Gibson and Vaughn are brilliant. The scenes where they just sit in the car and eat sandwiches while staking out their quarry, are both hilarious and absorbing. Ultimately, it’s the lengthy second half robbery and final act ultra-violence which makes the film a pulsating and brutally rewarding experience.

Mark: 8.5 out of 11

Cinema, documentaries, Netflix, Reviews

TELL ME WHO I AM (2019) – NETFLIX REVIEW

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TELL ME WHO I AM (2019) – NETFLIX REVIEW

Directed by: Ed Perkins

Produced by: Simon Chinn

Based on: Tell Me Who I Am by Joanna Hodgkin, Alex Lewis and Marcus Lewis

Cinematography: Erik Alexander Wilson

***SPOILER FREE***

I recently reviewed a number of documentaries here, but it was only during a catch-up of Netflix films did I watch the harrowing family drama, Tell Me Who I Am (2019). Now, in my younger days I was naive enough to think documentaries were a representation of the whole truth and not a mediated version of events. There was fiction on one side and documentaries on the other. It’s a documentary so it must be true and must not be questioned.

That isn’t to say that the events of this incredible story are not true. No, my point is that Tell Me Who I Am (2019) is, while based on a true story, structured like a classic Hollywood thriller akin to something Hitchcock may have produced. Conversely, I was gripped throughout by the mystery, suspense and a gut-kicking reveal halfway through. Do not read anything about this moving family story beforehand, as going in with NO knowledge will make it all the more powerful.

The film is structured in the classic three act fashion. Firstly, we find Alex Lewis describing events of an accident he had when 18. The incident led to him totally losing his memory. The only thing he remembered was he had a twin brother, Marcus. His mother, father, friends, their farmhouse, the privileged background and their dogs were all forgotten. Like a film noir protagonist he was left in the dark as to his whole history. With the help of Marcus, he slowly begins to learn about his past and rehabilitate for the future. Thus, at first one feels this is a story of an individual overcoming near-tragedy and rebuilding their life moment by moment. However, it becomes something much more than that. I shall say no more.

Shot through talking heads, photo montage and reconstruction, this is an exquisitely edited and filmed documentary. The twins, Alex and Marcus are framed in close-ups, with pale backgrounds and shadowed foregrounds. As we move back and forth between their respective sides of the story, one is slowly pulled into the incredible events that confirm truth is more horrifying than fiction. By the resolution I was shook and deeply affected by the film, with still some questions left unanswered. Ultimately though, Tell Me Who I Am (2019) is a satisfying and very emotionally charged story about searching for truth amidst familial conflict, betrayal and a longing for redemption.

Cinema, New Releases, Oscar Bingo, Reviews

PARASITE (2019) – CINEMA REVIEW

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PARASITE (2019) – CINEMA REVIEW

Directed by: Bong Joo-ho

Produced by: Kwak Sin-ae, moon Yang-kwon, Bong Yok-cho, Jang Young-hwan

Screenplay by: Bong Joon-ho & Han Jin-won

Cast: Song Kang-ho, Jang Hye-jin, Choi Woo-shik, Park So-dam, Lee Sun-kyun, Cho Yeo-jeong, Jung Ji-so, Jung Hyeon-jun, Lee Jung-eun

Cinematography by: Hong Kyung-pyo

******* MAY CONTAIN SPOILERS ********

I actually saw this incredible work of cinema storytelling on Saturday just passed, so am writing this review AFTER the film rather incredibly won several Oscars at the 92nd Academy Awards ceremony on Sunday. I say “rather incredibly”, not because the film wasn’t a worthy winner of the Best Film award, but because high quality films not in the English language usually have to be satisfied with the Best International Film Award, as it is known now. Parasite (2019) in fact, deservedly won that award too. Anyway, irrespective of the awards it has earned, the film has also been universally praised. Not surprisingly, because it is not just a Korean arthouse film, but rather an ingenious genre classic. It blends dark comedy, horror, drama and thriller tropes to create a funny, suspenseful and consistently surprising experience.

The story premise itself is relatively simple and it begins not too differently from a Japanese film I watched recently called, Shoplifters (2018). A lower class family, in this case Korean, live in cramped conditions and struggle to survive on a daily basis. Their apartment is below level and the Kim’s including father, Ki-taek, mother Chung-sook, daughter Ki-jeong and son Kim Ki-woo are all out of work. While they struggle on they stick together as a family, battling drunks who piss against their window, steal local wi-fi and also carry out menial part-time jobs like making up pizza boxes. Fortunately, a friend of Ki-woo recommends him for a teaching position within a very wealthy household belonging to the Park family. Then the narrative really gathers pace as the Kim family surreptitiously begin to infest and inveigle their way into the Park’s privileged lives.

You’d be forgiven for thinking that the Kim family are the antagonists in the narrative, however, they are very empathetic characters. Their dubious actions lead the story into very dark and funny territory, as they manipulate Mr and Mrs Park, plus their young son and teenage daughter. While not condoning their actions one can identify with their class struggle because they are desperate to improve their situation and prosperity. The issue is though they get a bit greedy and the superb screenplay throws a massive twisting curve-ball at them as the Kim’s plans unravel and events go completely off the rails.

Filmmaker, Bong Joon-ho, like he did with the brilliant films, Snowpiercer (2013) and The Host (2006) is clearly using the social status of his characters to satirise and critique capitalist society. It’s literally an ‘Upstairs versus Downstairs’ narrative in terms of both locations and themes. Beautifully filmed, in a property that was actually built for the film, the cinematography makes clever use of glass and windows to mirror characters and reflect identity. Moreover, it has more than a voyeuristic air to it with characters hiding around doorways and stairwells, as well as following, spying and watching each other secretly. It’s a film which Hitchcock would have been proud to have directed too, with many suspenseful and gripping set-pieces throughout.

Ultimately, the first three-quarters of the Parasite (2019) are a cinematic masterpiece, so brilliantly plotted and planned out. When the Kim’s plans are then upended, the film gives way to an unhinged ending as events descend into bloody chaos. However, Bong Joon-ho is so in control of the material he tells us, via Ki-taek, that this careful planning is about to give way to something more messy. Furthermore, the final act while moving and tenderly rendered, I felt, was replete with somewhat poetic narrative holes. But, this is not a criticism as even in the final scenes Joon-ho is inventive while surprising the audience. Although, overall, the biggest shock would come when Parasite (2019) won the best film at the Oscars. I’m still reeling the Academy made such a risky choice!

Mark: 10 out of 11

Cinema, Films That Got Away, Reviews

FILMS THAT GOT AWAY #7 – LITTLE MONSTERS (2019)

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FILMS THAT GOT AWAY #7 – LITTLE MONSTERS (2019)

Written and directed by: Abe Forsythe

Produced by: Jodi Matterson, Bruna Papandrea, Steve Hutensky, Keith Calder, Jessica Calder

Cast: Lupita Nyong’o, Alexander England, Kat Stewart, Diesel La Torraca, Josh Gad etc.

**MAY CONTAIN SPOILERS**

While I’m not a massive fan of awards ceremonies, I do check out the nominations for the big ones. The Academy Awards or ‘Oscars’ are obviously the most esteemed annual celebration of commercial filmmaking. But, they often get their nominations, from an artistic and diversity perspective, horrifically wrong. Of course, it’s a matter of opinion, but this year I do not know how Lupita Nyong’o was not nominated for her performances in Jordan Peele’s brilliant horror satire, Us (2019). She is now proving herself to be one of the best actresses around and definitely should have been nominated in the ‘Best Actress in a Leading Role’ category.

As well as Us (2019), Nyong’o also appeared in another horror film released last year called Little Monsters (2019). This one got away from me though because for some reason it did not get a major cinema release in the UK. Little Monsters (2019) is nowhere as imaginative, dark or intelligent as Jordan Peele’s searing exploration of duality, class, race and identity. However, as zombie-romance-comedies go it’s a lot of fun. Nyong’o portrays a likeable, professional and positive school teacher who, along with Alexander England’s failed musician loser, Dave, must protect a group of children from hordes of zombies on a school trip.

It’s an unpretentious, funny and gory comedy romp that owes a massive debt in tone and delivery to Shaun of the Dead (2004). Furthermore, stock genre conventions such as the slow zombies, ubiquitous military nuke ticking time bomb ending, loser character redemption and cute children who “think it’s all a game”, are all relied upon heavily. Nonetheless, the script is fast-paced, witty and has a lot of heart. The direction is effective, although there were probably too many songs in there as filler. Overall, this is a fun film with a brilliant turn by Josh Gad as foul-mouthed children’s TV presenter, and of course, the starry effervescence of ultra-talented, Lupita Nyong’o.

Mark: 8 out of 11

Cinema, New Releases, Reviews

STAR WARS: THE RISE OF SKYWALKER (2019) – MOVIE REVIEW

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STAR WARS: THE RISE OF SKYWALKER (2019) – MOVIE REVIEW

Directed by: J.J. Abrams

Produced by: Kathleen Kennedy, J.J. Abrams, Michelle Rejwan

Screenplay/Story by: J.J. Abrams, Chris Terrio, Derek Connolly, Colin Trevorrow – based on characters created by George Lucas

Cast: Carrie Fisher, Mark Hamill, Adam Driver, Daisy Ridley, John Boyega, Oscar Isaac, Naomi Ackie, Domhnall Gleeson, Anthony Daniels, Lupita Nyong’o, Keri Russell, Richard E. Grant etc.

Music by: John Williams

**SPOILER FREE REVIEW**

The J. J. Abrams directed Star Wars: The Force Awakens (2015) reboot broke not only the internet, but also box office records worldwide. It was a safe, entertaining and impressive spectacle which combined a mix of older characters we knew and loved, plus some bright young new things too. The action was breathtaking and brilliantly done, however, the story was a retread of A New Hope (1977) (with a female Luke), plus a series of glaring plot holes. Still, loads of action and great bad guys made this a fun blockbuster. 

Director Rian Johnson’s, sequel Star Wars: The Last Jedi (2017) was, of course, another massive hit across the galaxy too. However, having watched it again recently, I felt it was racked with inconsistencies in tone and suffered weak storytelling. Indeed, the whole trilogy ground to a virtual standstill with Rey’s central story standing still and Poe and Finn’s mission proving to be a redundant decoy and wild goose chase rolled into one. Furthermore, I was shocked that a meta-filmmaker like Rian Johnson was given the Star Wars gig. To me, his filmmaking choices are too genre subversive and so it proved. Because, while The Last Jedi (2019) had some memorable moments, (mostly Adam Driver) and Luke’s emotionally charged arc, yet overall it failed as a Star Wars story.

Thus, it was not surprising when genre specialist, J. J. Abrams, was brought back to save the trilogy with The Rise of Skywalker (2019). In returning to the safe, fast-paced, spectacular blockbuster style of The Force Awakens (2015), we may have lost idiosyncratic moments of character and humour, but at least this story has plot cohesion, punchy pay-offs and emotional impact. What The Rise of Skywalker (2019) also has is incredible visual set-pieces throughout. The J. J. Abrams led production army of special effects wizards have given us some memorable light-sabre and space battles. One in particular on the moon of Endor, that finds Kylo-Ren (Adam Driver) and Rey (Daisy Ridley) facing off, took my breath away.

Another major strength of this final episode is that Rey’s narrative arc is finally given the development it should have got in The Last Jedi (2017). Daisy Ridley’s performance too in this film is excellent. While she was a bit lightweight in the first two films, I felt she really came into her own here. This is helped by the revelation as to who her real parents were. Having said that, Abrams and his co-writers desperately scrabble around in the first hour of the film trying to set this up. At times the pace was too hectic. However, once it settled and all the flashbacks and back stories were in place, Rey’s character faces a very ominous choice. Conversely, her deadly psychic link with Kylo Ren continues to be a fascinating duel of mind, spirit and body. These developments are assisted by another compelling performance by Adam Driver. Kylo Ren’s internal struggle comes to the fore too, with a number of heart-pounding pay-offs at the end.

I’m also pleased to say that Poe (Oscar Isaac), Chewbacca, and Finn (John Boyega) are given a real meaty mission to get their teeth into. One that in fact links to the main story and themes of the whole film too. The standard plot McGuffin here is a Sith “wayfinder”, which the rebel team and Rey set out to recover. Let’s be honest, it’s no more than a “Treasure Hunt” plot structure, however, at least it allows for the more emotionally charged aspects of the story to develop and leads us perfectly to the incredible battle sequences in the final act. Moreover, plot predictability aside, there are other weaknesses in the film. I didn’t mind the CGI-driven rendition of Leia Organa (Carrie Fisher), however, by the ninth episode in the franchise I felt maybe they’d waited too late to introduce new aspects of the Jedi mind-trickery. But, hey it worked well in the story and was so cool that you just accept ‘the force’ as is.

Ultimately, The Rise of Skywalker (2019) is a return to genre form following the idiosyncratic subversion of The Last Jedi (2017). In fact, it was so entertaining it is the most enjoyable one (excluding the prequels) of the new trilogy. Despite a rapid start to the narrative, which tries to recoup the ground lost by the prior film, once it finds a rhythm there are some amazing action set-pieces, impressively cinematic visuals and thrilling emotional moments. While it may adhere to cookie-cutter, franchise genre expectations, overall, The Rise of Skywalker (2019) is delivered with incredible force and made for perfect holiday blockbuster entertainment.

Mark: 8.5 out of 11

Cinema, New Releases, Reviews

LITTLE WOMEN (2019) – CINEMA REVIEW

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LITTLE WOMEN (2019) – CINEMA REVIEW

Screenplay and Direction by: Greta Gerwig

Based on: Little Women by Louisa May Alcott

Produced by: Amy Pascal, Denise Di Novi, Robin Swicord

Cast: Saoirse Ronan, Emma Watson, Florence Pugh, Laura Dern, Timothee Chalamet, Meryl Streep, Tracy Letts, Bob Odenkirk, James Norton, Louis Garrel, Chris Cooper etc.

Cinematography: Yorick Le Saux

**MAY CONTAIN SPOILERS**

It’s Boxing Day and you’re nursing a slight Christmas Day hangover, plus your brain is still trying to piece together the crazy jigsaw that was HBO’s Watchmen (2019). You now want a story that’s a bit more comforting; something that will make you warm and snug and feel safe. Step forward Greta Gerwig, Louisa May Alcott and an incredible cast of fine actors in the latest adaptation of the classic novel, Little Women (2019). It’s a perfect Christmas film full of romance, love, spirit, passion and just a little bit of pathos and heartache.

Set in Massachusetts at the time of the American Civil War, this splendid old chestnut of a story covers the lives of four teenage sisters — Meg (Emma Watson), Jo (Saoirse Ronan), Beth (Eliza Scanlan) and Amy March (Florence Pugh). They live with their Marmee (Laura Dern) and the story criss-crosses various years and narrative events as they search, find, lose and find again happiness, sadness and love. While the sisters prove to be very different personalities and clash often throughout the film, ultimately, it’s a film about solidarity, strength, sisterhood and family bonds.

It’s interesting Gerwig would choose something so safe for her next film project following the acclaim she correctly received for writing and directing Ladybird (2017). However, it’s not surprising either. While the title states these women are little, they are in fact anything but. Ronan as Jo and Pugh as Amy are especially energetic and larger than life. Both strive for artistic excellence and attempt to gain control over their personal and working lives in a traditionally patriarchal society. Jo’s desire to be a successful writer drives the story along impressively as Gerwig determines a meta-structure through her character. Indeed, Jo’s scenes with Tracy Letts’ publisher and editor are particularly amusing amdist some of the losses the March family suffer.

Amidst the familiarity of the text, Gerwig does attempt originality in her cutting between past and present events. While cross-cutting becomes slightly distracting from the emotions of the narrative, you can see how Gerwig wanted to stamp her own identity. The device also allows some wonderful juxtaposition of shots, emotions and camera movement. My one criticism would be that because the characters looked of a similar age in past and present, you did not always know what year you were in. Ultimately though, I really enjoyed this high-class film production. Greta Gerwig is an incredibly talented filmmaker and obtains exceptional performances from all the cast, especially Ronan and future stars, Florence Pugh and Timothee Chalamet. The film was so warm and safe, my Christmas Day hangover, like my heart, all but melted.

Mark: 8.5 out of 11