Tag Archives: Julia Garner

“CINEMA” REVIEW – THE ASSISTANT (2020)

“CINEMA” REVIEW – THE ASSISTANT (2020)

Written and Directed by: Kitty Green

Produced by: Kitty Green, James Schamus, Scott Macauley, P. Jennifer Dana, Ross Jacobson

Cinematography: Michael Latham

Cast: Julia Garner, Matthew Macfadyen, Mackenzie Leigh, Kristine Froseth, Noah Robbins etc.

*** MAY CONTAIN SPOILERS ***


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Having worked initially in the documentary genre, Kitty Green now presents her first fictional film, The Assistant (2019), with the ever-impressive Julia Garner in the lead. Garner portrays the titular assistant, Jane, a PA in an unnamed New York based film production company. However, while the characters may be fictional, the events reflected are very much based in reality, as the film explores endemic sexism within the film industry and office workplaces more generally. This isn’t a sensationalist #MeToo expose or revenge story, but rather a subtle narrative which conveys it’s criticisms with hushed and damning power.

The film is structured over one day. I’m a big fan of such a convention and wrote about the positives of single day narratives here. Anyway, The Assistant (2019), begins with Jane first in the office, and ends with her being one of the last there at night. In the middle we get a succession of expertly composed scenes which find Jane working for a big-shot movie producer. The fact that we never see him, but hear him and experience the aftermath of his behaviour through Jane is an ingenious concept. By showing rather telling us directly about his covert sexist exploitation, one is truly brought into Jane’s painful situation. She is told she is lucky to have this job and it presents a great opportunity to eventually become a film producer. Yet, to do so requires her to turn a blind eye to events which other employees horrifically consider to be the norm in a media company.


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Weinstein’s name is never mentioned. It doesn’t have to be. He is the sexual predator in the room and probably among many film producers who have utilised the casting couch to have their disgusting way with budding actors and actresses. That is why Kitty Green deserves so much praise because she chose a directorial style that really works for the story. Green and her cinematographer suck all of the colour out of the film industry, making it grey and beige and stark and unglamorous. Via the character of Jane, and Garner’s exquisitely reserved performance, we learn that such bullying cultures exist, and the character must choose to accept it or move on. Garner’s scene with the HR Executive, played by Matthew Macfadyen, is superb in conveying the difficult choice Jane faces.

Lastly, as well as making important points about the patriarchal corruption within the film industry, I enjoyed that it also captured the repetitive nature of administration work. Photocopiers hum, phones ring, paper flaps, printers and faxes whir, while florescent strip lights glow amidst the drudge of the daily office grind. Jane is a prisoner within a myriad of shadowy walls and filing cabinets. Further, Jane is also torn between being a just person and following her dream of working in the movies. But, at the end of another exceptionally exhausting day, that dream is soured by the insidious lust of human behaviour. Thus, The Assistant (2019) asks, will things ever change? Go watch it and decide if you think they will.

Mark: 8.5 out of 11


NETFLIX REVIEW – OZARK (2020) – SEASON 3

NETFLIX REVIEW – OZARK (2020) – SEASON 3

Created by: Bill Dubuque & Mark Williams

Producers: Jason Bateman, Chris Mundy, Bill Dubuque, Mark Williams

Director(s): Jason Bateman, Alik Sakharov, Ben Semanoff, Amanda Marsalis, Cherien Dabis

Writers: Chris Mundy, Paul Kolsby, Ning Zhou, Martin Zimmerman, Miki Johnson, John Shiban, Laura Deeley

Cast: Jason Bateman, Laura Linney, Sofia Hublitz, Skylar Gaertner, Julia Garner, Lisa Emery, Janet McTeer, Charlie Tahan, Tom Pelphrey, Joseph Bedford Lloyd, Joseph Sikora, Felix Solis, Jessica Frances Dukes etc.

Original Network: Netflix

**CONTAINS SEASON 1 & 2 SPOILERS**



So, the third season of the Netflix crime drama, Ozark, confirms its status as one of my must-watch TV programmes. It joins the likes of Game of Thrones, Penny Dreadful, It’s Always Sunning in Philadelphia, Breaking Bad, Doctor Who, Curb Your Enthusiasm, Inside No. 9 and many more, which became essential viewing. If you haven’t seen the show, Jason Bateman plays an accountant who has to go on the run with his family to Ozark, Missouri, while working for a murderous Mexican drug cartel. Accompanying him are his wife, Wendy, portrayed by Laura Linney and their two teenage children, Jonah and Charlotte. The structure of the season one and two is to essentially place the American “nuclear family” at the heart of a noir thriller and watch them use their wits to survive. What is even more apparent though is that the ingenuity of the writing means we are rooting for the bad guys. Of course, there is always a bigger fish or predator, but slowly and surely the Byrdes are climbing a slippery ladder up the crime food chain.

Season 3 begins not long after season 2 ended. The explosive and brutal Mexican drug wars, involving the Navarro Cartel and bitter rivals, provides a violent back drop for the drama. It heightens the tension and danger for Marty and Wendy, who are now running a casino literally on the Ozark lakes. With the Cartel wars raging, the Byrdes also have major problems closer to home. They are attending marriage therapy, the FBI are about to audit their casino, Navarro himself is breathing down their necks about the flailing money-laundering operation, Janet McTeer’s devious lawyer, Helen Pierce, wants more control, and Frank Cosgrove Junior, from the Kansas City mob, is being a spoilt arsehole. His character and Julia Garner’s foul-mouthed Ruth Langmore face off many times during the season. In addition, Wendy’s erratic wanderer of a brother, Ben (Tom Pelphrey) is thrown into the heady mix, while always lurking is devilish Darlene Snell (Lisa Emery). The stakes are high, and the players are set for one almightily gripping game of life and death.



All the ingredients of what I loved in the first two seasons of Ozark are still present in the latest season. This is good old-fashioned crime and noir drama, with ultra-violence and shocking plot twists, presented via a stylish set of production values. The cinematography alone is just so stylish with natural lighting, shadows and silhouettes used to cloak the characters. Furthermore, many of the narrative twists and turns could be deemed as over-the-top, but the scriptwriting and lead performances are of such high quality you cannot fail to be drawn into this shady world of drug dealers, gangsters, assassins and liars. Indeed, pretty much every character is a liar and there are very few innocent or righteous characters in Ozark. Even the kids are in on the lies and have some of their own too.

Of the new characters introduced, FBI Agent Maya Miller (Jessica Frances Dukes) is a welcome addition to the machinations. Yet, her attempts to follow the rules leads her directly into dark water, as Marty attempts to manipulate her to his own ends. Not as innocent is Wendy’s brother, Ben. While he is lively and a bit of a maverick, he still has a good heart though. However, he has a secret which will come to the fore later in the season. This allows Wendy to face one of the most difficult life choices she ever has to make. In such scenes the acting from Tom Pelphrey and Laura Linney is incredibly powerful. Some may say that these episodes trivilize mental illness, but Ozark is not attempting to explore major issues. Instead, it uses them to serve the darker plot developments and continued tragedy within this savage world. Afterall, this is a show which literally had a character suffer a Caesarean section with a hunting knife.

Overall, season 3 of Ozark is a brutal and exciting wade through a swamp of vicious and calculating set of characters. There is also much dark humour, especially in the industrial language and biting delivery of the amazing Julia Garner. Even Jason Bateman as Marty Byrde, a cool and calm individual, continues to prove he will stop at nothing to keep him and his family alive. I think also that Marty enjoys the games and the gambles. He wants to win at all costs as demonstrated in flashbacks to his childhood experiences with a particular arcade game. Likewise, Wendy, whose character really came to the fore in season 2, is just as ruthless. To both of them death has become part of their everyday lives. As Bateman and Linney continue to give incredible performances, I’m hooked on where Ozark is leading us. Given season 4 promises old and new rivals to threaten the Byrde family, I bet it’s going to get darker and even more shocking.

Mark: 9.5 out of 11


OZARK (2018) – SEASON 2 – NETFLIX TV REVIEW

OZARK (2018) – SEASON 2 REVIEW

Created by: Bill Dubuque & Mark Williams

Producers: Jason Bateman, Chris Mundy, Bill Dubuque, Mark Williams

Director(s): Jason Bateman, Andrew Bernstein, Phil Abraham, Alik Sakharov, Ben Semanoff, Amanda Marsalis

Writers: Chris Mundy, David Manson, Alyson Feites, Ryan Farley, Paul Kolsby, Ning Zhou, Martin Zimmerman

Cast: Jason Bateman, Laura Linney, Sofia Hublitz, Skylar Gaertner, Julia Garner, Jordana Spiro, Lisa Emery, Jason Butler Harmer, Harris Yulin, Peter Mullan etc.

Original Network: Netflix

**MAY CONTAIN SPOILERS**

The Byrde family are back for a second season trying to keep their heads above bitter Ozark lake water once again. If you haven’t seen the show Jason Bateman plays an accountant who has to go on the run with his family to Ozark, Missouri while working for a murderous Mexican drug cartel. Accompanying him is his wife, Wendy, portrayed by Laura Linney and their two teenage children, Jonah and Charlotte.

Without wishing to give away too many spoilers I can reveal the first season found the Byrde’s lives under threat from the Mexican Cartel and the FBI, while at the same time they made new local enemies in the Langmores and the Snells. The structure of the season one and two is to essentially place the American “nuclear family” at the heart of a crime noir thriller and watch them use their intelligence and wits to save their skins. What is even more apparent though in Season 2 is that, like with Breaking Bad, the ingenuity of the writing means we are rooting for the bad guys. I mean, the Byrdes are money-laundering criminals, but somehow the performances and screenwriting makes us root for them, mostly.

Having created some geographical and financial stability in the Ozarks by funnelling drug monies through various local business ventures, Marty and Wendy spend all of this season planning to get a casino up and running on the lake. Of course, this is met with resistance from many parties, notably the local crime family, the Snells; the FBI led by twisted obsessive, Roy Petty; Ruth Langmore’s jailbird father, Cade; and most significantly the State Senate which must pass the bill for a new casino. The latter is where Wendy’s character proves her worth as she has experience manipulating the political process following years working as campaign manager in Washington.

In the past I have criticised some Netflix shows for having too many episodes and being full of filler. Well, it’s safe to say there is little in the way of filler in these ten episodes. The suspense, pace and narrative zip along, fully committed to the substantial plots and compelling subplots. Of course, it feels very familiar, yet the “innocent family under threat” trope so often used by Hitchcock and other thriller filmmakers is cork-screwed here. Both Marty and Wendy fight back against their nemeses with cunning and threat. Wendy’s character arc is particularly enthralling, because as Marty begins to waver and his Borg-like cloak of non-emotion slips, she revels in the power-games, even as the body count begins to mount up.

If you love crime thrillers as I do you will love Ozark. While the elements are quite generic the acting, writing and directing are right out of the top draw. I also love the cinematographic style too. Some may say they find it literally too dark. However, the lack of white balance adds to the murky nature of the events in play. The crisp darkness and shadow paradoxically illuminate the inner machinations of some very dark souls. I mean, while the Byrde family are criminals, they are actually sane when compared to the likes of psychotic Darlene Snell (Lisa Emery) and sewer rat, Cade Langmore (Trevor Long). Their characters are so unhinged I wouldn’t want to argue with them, even on the phone.

Ozark, also has at least three almost-perfect acting performances from Jason Bateman, Laura Linney and Julia Garner as the young Ruth Langmore. Garner for such a young actress steals every scene. I think she is destined for a great career. Garner gives her character a sparky, intelligent and tough-nut exterior, but vulnerable interior. Plus, a strong theme of the show is loyalty and survival of the family unit. As much as Ruth Langmore tries to stay loyal to her family, fate and her poor choices conspire against her. Oh, and I almost forgot the Season 2 acting cherry on the cake, with Janet McTeer’s crime lawyer kicking in our dramatic shins with wicked aplomb.

In short: Ozark is a treat for an audience hungry for plot driven crime dramas. It perpetually springs narrative traps as the themes throb darkly. The underlying theme seems to be you have to be bad to survive and anyone who isn’t ultimately pays the price. Because God and humanity have forsaken Ozark, Missouri, with only shadow in bloom. Blessed with incredible acting, fine writing and twists throughout, I for one cannot wait for Season 3 to be released next month on Netflix.

Mark: 9 out of 11