Ever since I started reviewing films, TV, life and other cultural stuff I have mainly done it for my own enjoyment. I also blog because I want to express my opinion on things I watch and maybe get a better understanding of what does or doesn’t work from a subjective and creative perspective.
Little did I know that years later I would have cultivated some fine online pen or keyboard pals, who love movies such as me. I’m not one for awards per se but in the spirit of community I would like to nominate eleven WordPress blogs which I also recommend people read if they get some time.
So, thanks Debbi for the Sunshine award thingy – here are some other blogs which I think are brilliant too:
THE CINEMA FIX PRESENTS: APRIL FILM REVIEW ROUND-UP
With Avengers: Endgame (2019) dominating the cinemas at the moment, I thought I’d let Marvel’s magic dust settle BEFORE seeing that blockbuster this weekend. However, during April I caught a few other newer releases at the cinema and online via Netflix. Thus, here are some mini-reviews with the usual marks out of eleven.
**MAY CONTAIN SPOILERS**
GRETA (2018) – CINEMA – DIRECTOR: NEIL JORDAN
Neil Jordan has an impressive directorial curriculum vitae, including genuine classics such as: Mona Lisa (1986), The Crying Game (1992) and The End of the Affair (1999). Greta is arguably not a patch on them; however, I really enjoyed this B-movie stalker narrative. This is mainly due to a fine cast headed by Isabelle Huppert, Chloe Grace Moretz and Maika Monroe.
Huppert exudes Gallic charm and quiet menace as the obsessive and lonely Greta. Furthermore, as her behaviour becomes more unhinged Jordan wrings every bit of tension from the lean and thrilling script. Seamus McGarvey’s cinematography also adds class to a very entertaining ninety-eight minutes.
Mark: 8 out of 11
LOVE, DEATH & ROBOTS (2019) – NETFLIX – DIRECTOR(S): VARIOUS
This anthology of eighteen animated short films was curated by Joshua Donen, David Fincher, Jennifer Miller and Tim Miller. Produced by various crews from a range of countries, the series is a re-imagining of Fincher and Miller’s long-planned reboot of animated sci-fi film Heavy Metal (1981). Firstly, I love short films and have watched a lot over the last ten years, and I don’t mind animated stuff either.
In Love, Death and Robots the animation, graphics, action, editing, composition and imagery on show here are incredible. The stories themselves are hit and miss; with some actually feeling over-sexualised and retrogressive. Nonetheless, the production values on show raise the bar so high it masks some of the generic writing and weak characterisation. Lastly, there are some brilliant shorts and my favourites include: Three Robots, Shape Shifters, Zima Blue, Ice Age and the very funny Alternate Histories.
Mark: 8 out of 11 (averaged score)
OUTLAW / KING (2019) – NETFLIX – DIRECTOR: DAVID MACKENZIE
According to Wikipedia this historical epic about Scottish nobleman, Robert the Bruce, cost $120 million to make. It’s a shame so much money was wasted because technically speaking the production is an absolute tour de force. It’s a pity the script and narrative are so bereft of intrigue, suspense and character relatability. Yes, I get that the English are bad and the Scottish must stand up to defeat their nefarious “landlords”, but unlike the far more theatrical and entertaining, Braveheart (1995), this all felt irrelevant.
I thought Chris Pine, who is a charismatic movie star, lacked personality in the lead, and Florence Pugh, as his wife, was given little to do apart from run away then get kidnapped. Aaron Taylor-Johnson was fantastic as a bloody revenging Scottish rebel-lord; as was David Mackenzie’s incredible direction of the impressive battle scenes. I have read that the film was hacked to pieces and what is on show is a hung-drawn-and-quartered cut of a longer film. Perhaps, one day we will see a true version of Outlaw / King and Mackenzie’s vision will be properly represented.
Not quite a dirty dozen but a filthy five as former soldiers and military contractors including: Oscar Isaac, Ben Affleck, Charlie Hunnam, Garrett Hedlund and Pedro Pascal, gang together to rob a drug baron’s fortress holed up deep in the South American jungle. The story has all the hallmarks of a testosterone-driven-men-on-a-mission-genre classic, but just when I thought it was going in a certain direction, the ending under-mined much of the previous compelling action.
The cast are very impressive though and they more than make up for any deficiencies in the thin characterisations. Similarly, while it starts slowly, once we get into the heist J.C. Chandor’s methodical directorial style really comes into its’ own. Chandor creates a lot of tension during and after the robbery as events twist out of control. Thematically, I thought this was going to become a modern day version of 1948 masterpiece, The Treasure of Sierra Madre. Indeed, if the drug money they steal had become a true threat to test the friends’ loyalty and courage under fire, I would have marked this thrilling film higher.
Mark: 8 out of 11
UNICORN STORE (2018) – NETFLIX – DIRECTOR: BRIE LARSON
This is a very odd film. However, if you pick through the bones of the whimsical script, the rainbow-baubled art direction and Brie Larson’s eccentric child-woman, you’ll find a rites-of-passage genre film in there somewhere. Larson directs herself as the immature narcissist, who having been kicked out of Art College begins a dead end temp job to try and appease her parents. So far so relatable.
However, the film twists into symbolic fantasy when she is offered, by Samuel L. Jackson’s enigmatic ‘Salesman’, the dream opportunity of owning a Unicorn. WTF!!?! I enjoyed a lot about the film, notably the Napoleon Dynamite (2004) style humour; plus Larson and Mamadou Athie’s performances stand out. Overall though, I got that the Unicorn was an allegory for human maturation but I personally felt the narrative was slow and stretched despite fine work from the very talented Larson.
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.