Tag Archives: Romance

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

Cinema, MUBI, Reviews

CINEMA REVIEW: DECISION TO LEAVE (2022)

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CINEMA REVIEW: DECISION TO LEAVE (2022)

Directed by: Park Chan-wook

Written by: Jeong Seo-kyeong, Park Chan-wook

Produced by: Park Chan-wook

Main cast: Tang Wei, Park Hae-il, Lee Jung-hyun, Go Kyung-pyo, etc.

Cinematography Kim Ji-yong

Edited by Kim Sang-bum

*** MAY CONTAIN SPOILERS ***

Park Chan-wook is a proper filmmaker. Like Quentin Tarantino and Martin Scorsese, he embraces the artifice of the visual and aural medium crafting intelligent, thematically surprising and stylistically dazzling works of cinema. While watching his work one can see the clockwork precision of his filmic mind devising every frame, sound, camera move, cut, character action, acting nuance, being thought out expertly. In short: Park Chan-wook’s films are always an event for me and demand attention.

Chan-wook’s only Hollywood directed film was an under-rated gem of a noir thriller called Stoker (2013), after which he returned home to direct erotically charged period thriller, The Handmaiden (2016). This was a bigger-budgeted and thematically richer affair, taking a complex con-artist-twisting-plot and interweaving an explicit feminist love story. Of course, lest we forget Chan-wook’s classic early work, notably the gonzo revenger, Old Boy (2003). I re-watched it recently at the Raindance Film Festival and the furiously inventive exploitation film retains its beautifully transgressive power.

Like The Handmaiden (2016), Decision to Leave (2022) is a romance story set within a complex genre plot. While the former was a period crime film, Decision to Leave (2022) is a contemporary set police procedural with a central premise highly reminiscent of Basic Instinct (1992). Tang Wei as Song Seo-rae is suspected of killing her husband and as investigating cop, Park Hae-il as Det. Jang Hae-jun, delves deeper he finds himself more and more attracted to her. Where The Handmaiden (2016) and Basic Instinct (1992) used nudity and sexual imagery liberally, Decision to Leave (2022) is far more subtle and cerebral. The compelling romance is built on two fine lead performances, the cunning twists in the crime plot and Chan-wook’s masterful visuals with mountain, coastal and city landscapes being employed to powerful impact.

Now I must admit after watching Decision to Leave (2022) I was left slightly underwhelmed at the end from an emotional perspective. The visuals and storytelling were phenomenal, with Chan-wook and his writing partner crafting a devious series of inventive cat-and-mouse set-pieces. The suspense and doubt instilled as to whether Song Seo-rae is a murderer, despite her cast-iron alibi, is palpable. Simultaneously, the arc of the married mid-life crisis-detective, drawn to the suspect, flirting with disaster through flawed choices, creates much tension also. However, I didn’t immediately warm to the detective’s persona and wasn’t sure if I really cared. But I suspect, due to the complexity of the passion on show, a further watch will cement Chan-wook’s specific and symbolic vision.

Beneath the melding of romance, crime, mystery and action genres, I also considered the potential subtext in the screenplay. I wondered if Decision to Leave (2022) sought to explore the socio-political relationship between the nations of South Korea and China via the characters? Song Seo-rae is a Chinese migrant who came to Korea and via marriage was able to remain. An enigmatic soul she uses her wiles to survive, serenely attracting a series of men. But death follows her as closely as the male. Detective Hae-jun is drawn to her both professionally and romantically, no doubt thrilled by the danger. Yet, Chan-wook denies displaying physical consummation, and this makes the film more erotic than endless sex scenes do.

Lastly, Decision to Leave’s (2022) examination of language, both bodily and verbal, is deftly presented as a theme within the romance. The central crime of murder creates suspicion between the Korean and Chinese characters, but there’s a mutual and irresistible pull that cannot be denied. Song Seo-rae’s use of her phone translation application during her exchanges with the Detective create both a barrier and paradoxical intimacy. It’s just one of the fascinating bits of business, as well as the chainmail gauntlet used by the Detective, which elevate an already impressive script. But did Decision to Leave (2022) need to be so evasively complex and full of radiant ambiguity? The ending especially is both poetically exquisite and frustratingly cryptic. With a Park Chan-wook film, would I have it any other way?

Mark: 8.5 out of 11

Cinema, New Releases, Reviews

CINEMA REVIEW: BONES AND ALL (2022)

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CINEMA REVIEW: BONES AND ALL (2022)

Directed by Luca Guadagnino

Screenplay by David Kajganich

Based on Bones & All by Camille DeAngelis

Produced by: Luca Guadagnino, Theresa Park, Marco Morabito, David Kajganich, Francesco Melzi d’Eril, Lorenzo Mieli, Gabriele Moratti, Peter Spears, Timothée Chalamet

Cast: Taylor Russell, Timothée Chalamet, Michael Stuhlbarg, André Holland, Chloë Sevigny, David Gordon Green, Jessica Harper, Jake Horowitz, Mark Rylance, etc.

Cinematography: Arseni Khachaturan

*** CONTAINS STORY SPOILERS ***

After reviewing The Menu (2022) last time out, here’s another film where food and eating and death are at the very marrow of the narrative. I must confess though it’s very difficult to discuss the excellent hybrid genre film, Bones and All (2022) without giving away the main ingredient within this film. So, I give prior warning that I’m going to have to reveal it in the review. I will state therefore if this film had been called, Fine Young Cannibals, I would not have been surprised in the least. Because the theme of people eating human meat is at the heart of the story.

Bones and All (2022) is not a B-movie zombie film with bloody images of flesh-eating monsters devouring people. Yes, there are some gory scenes to satisfy horror fans, however, this arthouse adaptation of Camille DeAngelis’ 2016 novel, is more subtle and sympathetic to the young protagonists with a yearning for mortal flesh. Here murder and cannibalism occur, but it is represented as a curse for both Maren (Taylor Russell) and Lee (Timothee Chalamet), who struggle with their consumptive urges. Moreover, the feeding on flesh is highly symbolic, representing a sensual and almost religious experience for the couple. As they travel across various States, they grow as characters and people. They also explore their own love and share other people’s bodies, romance bleeding through in the process.

Bones and All (2022) is set in the 1980s. It begins with teenager Maren living with her father (Andre Holland) in Virginia. After hitting eighteen years of age, and causing a particularly nasty event at a friend’s sleepover, she is abandoned by him. Left with a cassette tape explaining her family history, Maren sets out to find her mother, meeting Lee along the way. The two are immediately drawn to each other and while driving set about sating their desire for fresh meat. This causes conflict between the couple as it is clear they are not comfortable with the nasty business of killing. Unlike the pursuing serial-killer-trophy-collecting antagonist, Sully (Mark Rylance). He is a venal force of nature, taking animalistic glee during the sacrifice of his victims.

Bones and All (2022) is directed with glacial majesty by Luca Guadagnino. He expertly blends and cooks the genres of horror, period drama, rites-of-passage, romance and road movie with a well balanced approach to tone. Extracting attractive performances from Chalamet and Russell, their onscreen chemistry is potent and touching. Acting legend Mark Rylance steals the show though as the slithery Sully. Overall, I felt the film could have been cut for pace slightly and the Romeo and Juliet-with-a-twist ending was too tragic for me. I think, despite their cannibalistic needs, Maren and Lee deserved a future together. But ultimately it’s all a matter of taste.

Mark: 8 out of 11

Cinema, disney, Reviews

“CINEMA” REVIEWS: FRESH (2022) + WHERE THE CRAWDADS SING (2022)

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“CINEMA” REVIEWS: FRESH (2022) + WHERE THE CRAWDADS SING (2022)

Two entirely different types of film on the surface, one a black comedy-horror and the other a romantic murder-mystery. Although both feature examples of the female outsider fighting against variant elements of toxic masculinity and the patriarchy. What they also have in common is impressive acting performances from rising star, Daisy Edgar-Jones. Thus, I thought it interesting to review said films side-by-side. With the usual marks out of eleven.

*** MAY CONTAIN SPOILERS ***

FRESH (2022)

Directed by Mimi Cave

Written by Lauryn Kahn

Main cast: Daisy Edgar-Jones, Sebastian Stan, Jonica T Gibbs, Charlotte Le Bon, Andrea Bang etc.

Essentially a beat-by-beat replica of Get Out (2017) as the main protagonist finds themself under threat from a nefarious force as their best friend desperately seeks to rescue them from grisly danger. Rather than raising important points about racism within the horror genre, Mimi Cave’s deliciously directed horror story with comedic elements, explores the precarious threat of singledom, toxic masculinity, gastronomy and relationships.

Daisy Edgar-Jones portrays cynical twenty-something, Noa, who is sick of the dating game and feels isolated where romance is concerned. I empathised with her decision to remain single, but then she has a meat cute with likeable charmer, Steve (Sebastian Stan), in the supermarket. They go on a date and more than hit-it-off. Before you can say “no-don’t-go-away-for-the-weekend-with-a-man-you-hardly-know!” Noa goes away with Steve and the plot ingredients really come to the boil.

Sebastian Stan and Daisy Edgar-Jones have fine chemistry throughout and are attractive protagonists. The first half of the film builds raw suspense, before the revelation arguably over-cooks the central relationship on the menu. Providing excellent support to the leads is Noa’s bestie, Mollie (Jonica T. Gibbs), who turns detective to locate Noa before the knives come out for her. Fresh (2022) runs out of steam toward the end as the plotting unravels with the characters making dumb horror movie decisions. However, I really want to see what writer, Lauren Kahn and director, Mimi Cave, deliver next as their debut feature Fresh (2022) is a very tasty starter.

Mark: 8 out of 11

WHERE THE CRAWDADS SING (2022)

Directed by Olivia Newman

Screenplay by Lucy Alibar (Based on Where the Crawdads Sing by Delia Owens)

Main cast: Daisy Edgar-Jones, Taylor John Smith, Harris Dickinson, Michael Hyatt, Sterling Macer, Jr., David Strathairn etc.

Adapted from the best-selling phenomenon written by Delia Owens, I went into Where the Crawdads Sing (2022) cold without any prior knowledge of the story. I hadn’t read the novel and even the trailer, thankfully, didn’t give swathes of plot away when I saw it. But what’s it all about? Well, it’s a sprawling cake mix of genres including murder-mystery, court drama, period piece, romance, and rites-of-passage with a movie-of-the-week cherry on top feel.

Daisy Edgar-Jones sensitively portrays Kya Clark, a young girl living in the North Carolina marsh, dealing with all manner of drama and trouble throughout her life. Considered an outcast and weirdo by the town locals of Barkley Cove, the film quickly places Kya as the main suspect in the murder of a privileged jock, Chase Andrews (Harris Dickinson). Via flashbacks we are then introduced to the misery of Kya’s abusive childhood, with her father frightening away Kya’s mother and brothers with his drunken battery. When Kya is ultimately abandoned by everyone, she finds some solace in her fledgling romance with Tate Walker (Taylor John Smith) and her interest in wildlife and art.

There are many elements of Where the Crawdads Sing (2022) that felt extremely familiar, notably the Nicholas Sparks-inspired love triangle. Kya having to choose between generic good boy/bad boy types. However, it is integral to the character-driven aspect of Kya growing from a shy caterpillar and blossoming into a radiant butterfly. While the arguably patronising characterisation of the black characters did not convince, Kya’s character arc is certainly compelling, thanks to Edgar-Jones intelligent performance. Moreover, I enjoyed the locations and some wonderful scenery too. Overall, while it is undemanding and generic, I found Where the Crawdads Sing (2022) a pleasing diversion with a couple of obvious, but decent twists in the tale. The kind of film my mum would love.

Mark: 6.5 out of 11

Amazon Prime, Cinema, Reviews

AMAZON FILM REVIEW: BEING THE RICARDOS (2021)

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AMAZON FILM REVIEW: BEING THE RICARDOS (2021)

Directed and written by: Aaron Sorkin

Produced by: Todd Black, Jason Blumenthal, Steve Tisch

Cast: Nicole Kidman, Javier Bardem, J. K. Simmons, Nina Arianda, Tony Hale, Alia Shawkat, Jake Lacy, Clark Gregg, etc.

Cinematography: Jeff Cronenweth

*** MAY CONTAIN SPOILERS ***

Lucille Ball and Desi Arnaz were entertainment, musical and business pioneers during the classic Hollywood television period. Lucille Ball alone was nominated for 13 Primetime Emmy Awards, winning five times, and the recipient of many other accolades, before being inducted into the Television Hall of Fame. Not only did the married couple produce and star in the seminal U.S. situation comedy, I Love Lucy, but their Desilu Studios production company would be the driving force behind creating famous TV series including Star Trek and Mission: Impossible. The couple broke viewing records and barriers in regard to race, gender and business practices. While they were not of my era, I recognise both Lucille Ball and Desi Arnaz as consummate professionals, business trailblazers and iconic stars.

Aaron Sorkin’s Being the Ricardos (2021), adapts a week-in-the-life of Lucille Ball (Nicole Kidman) and Desi Arnaz (Javier Bardem) as they prepare, audition and perform the episode ‘Fred and Ethel Fight’ of I Love Lucy. At the same time, Lucille faces shocking revelations about her alleged Communist past. Moreover, her marriage to Desi is also tested by suspicions he has slept with other women. Interspersed around these events Sorkin flashes back to reveal how the couple met, and Lucille’s flailing film career as a dramatic actress was re-ignited by a chance switch to radio comedy. As a consummate screenwriter Sorkin hops between these time periods with great aplomb and his customary whip-cracking dialogue fires zingers throughout. The production process of the TV episode is particularly brilliant, with crafty Nina Arianda and the awesome J. K. Simmons providing superb support as Lucille and Desi’s supporting couple, William Frawley and Vivian Vance, respectively.

Being the Ricardos (2021) spins a great many plates within the running time and it is rock solid entertainment. As he did with The Trial of the Chicago Seven (2020), Aaron Sorkin arguably takes liberties with the time of events to compress and finesse the truth for the sake of dramatic and comedic effect. But that’s fine as this is not a documentary. What we get instead is an authentic production design which expertly evokes the mood, look, glamour, costumes and sounds of the era. It also explores the business, sexual and ideological politics of age with Desi and Lucille facing and pushing back at sponsor and studio demands. Those who know I Love Lucy will be overjoyed at the recreation of some memorable comedy sketches.

At the heart of the film Nicole Kidman and Javier Bardem combine formidably to breathe life into these legendary talents. Kidman is an actor who is extremely brave taking on the role of an icon. Sure, she gets paid millions of dollars, but her performance as Lucille Ball is energetic and intelligent and very funny. It could be easy to criticise her casting but Kidman does sterling work here. She gives Ball’s characterisation an effervescence, intelligence and perfectionist approach to her craft one cannot help but admire. Javier Bardem is a cinematic dream. With effortless panache he lights up the screen and just is so damned charming. Together they create fine on-screen chemistry as Sorkin’s bullet-paced dialogue is delivered superbly by the stars and terrific ensemble cast.

Ultimately, neither dramatic enough to tug the heartstrings or funny enough to be called an all-out comedy classic, Being the Ricardos (2021) remains another intelligent Aaron Sorkin rendition of real people and actual events. It’s a classy affair with a stunning cast and script, overall paying fine tribute to the genius of Lucille Ball and Desi Arnaz.

Mark: 8.5 out of 11

Cinema, New Releases, Oscar Bingo, Reviews

CINEMA REVIEW: WEST SIDE STORY (2021)

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CINEMA REVIEW: WEST SIDE STORY (2021)

Directed by: Steven Spielberg

Screenplay by: Tony Kushner

Based on: West Side Story by Jerome Robbins, Leonard Bernstein, Stephen Sondheim and Arthur Laurents

Produced by: Steven Spielberg, Kristie Macosko Krieger, Kevin McCollum

Cast: Ansel Elgort, Ariana DeBose, David Alvarez, Mike Faist, Rita Moreno, Rachel Zegler etc.

Cinematography: Janusz Kamiński

Choreography: Justin Peck

Music by: Leonard Bernstein

*INEVITABLE SPOILERS WITH THIS STORY*

Well, if you removed all the songs and added more dialogue to West Side Story (2021), then I guarantee it would make an amazing stage play. Oh, it has already. I thought it felt extremely familiar. Silly jokes aside, one often hears the decrying of originality in Hollywood cinema. Sequels, prequels, remakes, adaptations and reboots are plentiful as big business. Known quantities are a better bet to executives than original never-heard-of speculative screenplays. And not everyone is averse to re-doing fully developed properties. Thus, one of the most talented filmmakers of a generation, Steven Spielberg, has delivered a stunning remake of a film adaptation of a stage musical that was developed from William Shakespeare’s Romeo and Juliet.

You know the story. If you don’t, stop reading. Young star-crossed lovers fall in love against their families wishes. Their romance explodes into unbridled passion as war escalates between the two rival factions. As the lovers attempt to find a way to be together the conflict brings about eventual tragedy. Shakespeare was a genius and knew how to structure and spin a yarn. No surprise his works have been adapted infinitely to much success. One of the greatest was the musical West Side Story (1961). Exchanging Verona for New York and pitting the Puerto Rican Sharks against the local firm, the Jets, the play and film contain some of the most incredible numbers ever sang and danced to. The original play won awards and broke box-office records. The film West Side Story (1961) deservedly won many Oscars. It is considered almost a perfect musical. How could it be improved?

West Side Story (2021) cannot possibly be classed as better than the original because Jerome Robbins, Arthur Laurent, Leonard Bernstein and Stephen Sondheim, plus their incredible team, had already done all of the challenging work crafting the production. But with this new version Steven Spielberg has once again proved he is one of the great genre directors. Assembling an ultra-talented team including Josh Peck as choreographer, Tony Kushner as screenwriter, Janusz Kaminski as cinematographer and an effervescently wonderful cast.

Everything about the film screams colour, energy and movement. The dancing and editing and swinging beats take you on a breathless journey through the romance and street war. Tony (Ansel Elgort) and Maria’s (Rachel Zegler) love story is bounced effortlessly between the expertly devised gang battles. Moreover, West Side Story (2021) keeps all the memorably catchy songs such as: Maria, Tonight, America, Cool, and Somewhere, capturing the heart and imagination in equal measure. If there is a better directed, choreographed and edited set-piece all year in the Gee, Officer Krupke number then I haven’t seen it.

The cast are uniformly excellent with Ansel Elgort, while lacking slightly in the vocal department, more than making up for it with his magnetic screen presence. Rachel Zegler is charming if bland as Maria, but Ariana DeBose absolutely steals the scenes with her all-round performance as fiery Anita. The cast all deliver Tony Kushner’s excellent dialogue and the iconic songs with aplomb. Lastly, West Side Story (2021) is an absolute tour-de-force as cinematic entertainment. However, there is a sense that it is a missed opportunity for Steven Spielberg and his team to perhaps update the themes for the modern day. Kushner’s script hints at some analysis of racism that ultimately only scratches the surface. Spielberg is satisfied emulating a classic adaptation of a classic play, remaining trapped in a shiny post-modern time-warp full to the brim with powerful nostalgia.

Mark: 9 out of 11

Cinema, Netflix, Reviews

NETFLIX FILM REVIEW: THE POWER OF THE DOG (2021)

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NETFLIX REVIEW: THE POWER OF THE DOG (2021)

Directed by: Jane Campion

Screenplay by: Jane Campion

Based on: The Power of the Dog by Thomas Savage

Produced by: Emile Sherman, Iain Canning, Roger Frappier, Jane Campion, Tanya Seghatchian

Cast: Benedict Cumberbatch, Kirsten Dunst, Jesse Plemons, Kodi Smit-McPhee, Thomasin McKenzie, Genevieve Lemon, Keith Carradine, Frances Conroy etc.

Cinematography: Ari Wegner

*** MAY CONTAIN SPOILERS ***

Set in 1925 amidst the spectacular terrain of Montana, The Power of the Dog (2021), centres around a ranching family’s everyday relationships, romances, hatreds and choices. Two brothers run the Burbank ranch, Phil (Benedict Cumberbatch) and George (Jesse Plemons). George is the kinder man who leans more toward progress and business. Phil is more of the land and the traditional cowboy. However, he is incredibly intelligent and could have made more of his education. Instead, he is driven to follow in his hero and mentor, Bronco Henry’s wake, work the ranch and command men.

While hiding a deep secret, Phil is absorbed by the cowboy lifestyle and thrives on controlling those around him. But when George meets Rose (Kirsten Dunst) at a cattle drive inn, he falls for her. Soon they marry and George agrees to provide for Rose and her son Peter (Kodi Smit-McPhee). Phil immediately becomes upset by the intruder to the family equilibrium. Soon Rose and Peter fall foul of his bullying and superiority complex. Thus, begins a series of subtle and ambiguous clashes where Phil and Rose clash, before the bright, androgynous Peter manoeuvres to protect his beloved mother.

The stunning cinematography and vistas of, The Power of the Dog (2021), are more luminous dressing when compared to the compelling characterisation and incredible performances delivered via Jane Campion’s confident direction. Indeed, Benedict Cumberbatch, Kirsten Dunst and Kodi Smit-McPhee are so good you could have set the story on an empty soundstage (like Dogville (2003) and the searing properties of the drama would have been carried just as potently. Cumberbatch is exceptional. This is an Oscar winning performance. His bitter and envious alpha male broods and hides behind violence and biting words. Every now and then he threatens to burst, but is pulled back. Phil wants to love but is so trapped by social expectations and prejudices that he is trapped tragically by the era. The sensitive Peter doesn’t care what people think and that sadly makes him a victim. But still waters run very deep. Peter has a plan.

This film will give you heartburn. It’s subtle and bubbles like acid, reaches the throat before scarring the pit of your stomach. Now, I’m not always a fan of oblique and poetic cinema, especially within a narrative presented as a quasi-Western. Mostly I like to be punched in the gut, not branded slowly from the inside out. Yet Jane Campion’s expert adaptation of Thomas Savage’s novel, The Power of the Dog (2021), contains some bite. You just don’t see when and how it happens. Expect awards galore for this fine drama.

Mark: 8.5 out of 11

Cinema, Netflix, Reviews

NETFLIX FILM REVIEW: MALCOLM AND MARIE (2021)

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NETFLIX FILM REVIEW: MALCOLM AND MARIE (2021)

Directed by: Sam Levinson

Produced by:  Kevin Turen, Ashley Levinson, Sam Levinson, Zendaya, John David Washington

Written by: Sam Levinson

Cast: Zendaya, John David Washington

Music by: Labrinth

Cinematography: Marcell Rév

*** MAY CONTAIN SPOILERS ***

The Oscar nominations came out this week and due to the ongoing pandemic situation and consequent lockdowns, there are a number of films on the esteemed list which have yet to reach these shores, either at the cinema or via streaming platforms. Having said that, and I am aware space for nominees are limited and it has been a pretty strange year for cinema, but I was extremely surprised that Delroy Lindo did not receive an acting nomination in lead or supporting category. Similarly, I was also bewildered that Sam Levinson’s striking romantic drama, Malcolm and Marie (2021), had not received nominations in either screenplay or acting categories. Further, I was utterly shocked that critic’s reviews for the intense two-hander had been pretty mixed. Hey, it’s just opinions but I was really gripped by this highly theatrical and gorgeously cinematic two-hour argument in black-and-white. Personally, I think most of the deriders are wrong. But that’s just my view.

Maybe the film wasn’t liked because John David Washington’s, Malcolm, an up-and-coming filmmaker celebrating a successful premiere that evening, launches into a wonderfully eloquent rant about a review which he feels pigeonholes and patronises his film in purely political terms. I mean it’s actually a positive review, but who doesn’t enjoy ire toward professional critics. I mean, everyone has an opinion, or a view and the Internet has caused a mass proliferation and gaping spew of words and views and brain-thoughts in extremis. But Levinson’s script and Washington’s grandstanding acting spits that if you earn a living as a critic then you are essentially Satan! Perhaps some reviewers took umbrage with this? I loved the whole scene’s energy and Malcolm’s savage attack had me applauding throughout.

But Malcolm and Marie (2021) is more than Levinson getting back at those individuals who gave him bad reviews. It’s a sharp, funny, sexy and poignant exploration of a relationship close to breaking point. Malcolm and Marie may be different fighting weights, but they both punch hard and often. He is on a high after his film premiere success, but Marie is upset because he did not thank her during his speech. From there the conflict rises from light sparring to harsh emotional knockout blows. Both Malcolm and Marie tear at each other’s skin and flesh and figurative organs in an attempt to resolve the ever-increasing divide between them. Malcolm and Marie (2021), may not be for everyone, but any person who has been in a heated war of words with a partner or spouse, will identify with the inescapable tension on display. Levinson’s expert screenplay rides a rollercoaster journey of emotions as one moment you side with Marie and the next you’re with Malcolm. Yet, before you know it, you’re disliking both these complex, narcissistic, egotistical and infuriating humans.

Both Zendaya and John David Washington deserve so much praise for their performances in, Malcolm and Marie (2021). Washington has already demonstrated his massive talent in BlacKkKlansman (2018), while Zendaya excelled in recent HBO drama, Euphoria (2019). Levinson too directs with a deft skill. I was especially impressed by the way he balances the comedy and drama of these flailing humans, poking and picking at the scabs of each other’s past behaviour. Indeed, as well as containing some brilliant dialogue, the erudite script really sang to me. At times the coruscating repartee reminded me of Edward Albee’s acclaimed play, Who’s Afraid of Virginia Wolf. Nonetheless, for a dialogue and performance driven film, the precise framing and sumptuous black-and-white photography by Marcell Rév render the visuals wholly cinematic.

Sure, by the end of Malcolm and Marie (2021) is anything really resolved? And who is ultimately interested in this couple’s first world problems? Well, I’ve witnessed my parents fighting and also experienced such exhausting relationship arguments before. So, I must say that overall, I thoroughly enjoyed witnessing Malcolm and Marie’s nocturnal battle. Especially because I watched it all from the safety, warmth and comfort of my own home.

Mark: 8.5 out of 11

BBC, Reviews, Television

BBC TV REVIEW – NORMAL PEOPLE (2020)

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BBC TV REVIEW – NORMAL PEOPLE (2020)

Directed by: Lenny Abrahamson, Hettie Macdonald

Written by: Sally Rooney, Alice Birch, Mark O’Rowe

Based on: Normal People by Sally Rooney

Executive producer(s): Ed Guiney, Andrew Lowe, Emma Norton, Anna Ferguson, Sally Rooney, Lenny Abrahamson

Producer: Catherine Magee

Cast: Daisy Edgar-Jones, Paul Mescal, Sarah Greene, Aislin McGuckin, India Mullen, Fionn O’Shea, Eanna Hardwicke, Leah McNamara, Frank Blake, Niamh Lynch, Kwaku Fortune, Desmond Eastwood, etc.

Cinematography: Suzie Lavelle, Kate McCullough

Original Network: BBC Studios, Hulu

***MAY CONTAIN SPOILERS***

“The course of true love never did run smooth. . .” –
William Shakespeare

Love is a multi-faceted concept open to a myriad of philosophical, medical, emotional and intellectual interpretations. Conversely, an eternal question in our society still remains: what is love? Is it the joining together of two people forever committed to a relationship built on respect and trust?  Or is it the emotion you feel for a family member or person you have bonded with over time?  Is it nature’s way of tricking us into the act of pro-creation?  Perhaps it’s an abstract and emotional concept created by a higher power to ensure we act positively? For some it could be a dark force which enlivens obsession and stalking and violence or maybe it’s a marketing delusion forced upon us by greedy advertisers, florists and chocolate vendors?  Is it all of the above?

Studies by Helen Fisher of Rutgers University propose that we fall in love in three stages involving a different set of chemicals. They are: lust, attraction and attachment. Indeed, the events occurring in our mind when we fall in love are akin to mental illness. Chemicals such as: testosterone, oestrogen, dopamine, serotonin all conflict and combine to change our emotions when we’re attracted to someone. Further studies show that when choosing a partner we are at the mercy of our subconscious and inner sexual desires as proffered in psychoanalytical studies.

Love, lust and sexual desire are a big part of everybody’s lives whether they are positive or negative; indeed, the continuance of the species is very much reliant on them. Moreover, love or the lack of love has provided the springboard for millions of stories, films, plays, songs, poems, slogans, TV shows, comedies and adverts! The latest excellent love story I watched was the BBC/Hulu production called Normal People (2020). Over twelve episodes we were introduced and lured into the sweet and dark hearts of two Irish teenagers called Connell (Paul Mescal) and Marianne (Daisy Edgar-Jones). They meet, fall in lust, have loads of sex, fall in love, generally fall out with each, fight further, go to University, go abroad, grow up, fall down and then fall back in love with each with other, and so on.

Based on Sally Rooney’s extremely successful novel of the same name, the story events begin at a Sligo Secondary school. Connell is quietly spoken and from a single parent upbringing. But he is very popular with his peers, close to the top of his class and exhibits much sporting prowess. Marianne’s family is wealthier than Connell’s. In fact, the latter’s mum, Lorraine (Sarah Greene) cleans house for Marianne’s mother. The Sheridan household is not a happy one though due to a tragedy which occurred to the father. This causes Marianne to be very angry, self-loathing and outspoken. Because of this she is somewhat of an outsider at home and school. For some unknown reason Marianne’s brother and mother are very cold toward her. Yet, despite the turmoil and class difference, Connell and Marianne share a mutual attraction, which soon becomes a sexual relationship.

As aforementioned, the path of love is not smooth as the first obstacle to the relationship comes from Connell’s paralysing fear of what his school friends think. He is a complex soul and does not have the bravery to share his true feelings to the world. Marianne becomes a secret, and this angers her, causing a major rift between the two young lovers. I won’t give any further plot details away, but it is safe to say that this is not your average romantic comedy or drama. The story beats of the romance genre are present, yet delivered in a sombre, delicate and under-the-surface style. This is not surprising given the first six episodes are subtly directed by Lenny Abrahamson, a filmmaker who has a number of wonderful character-driven films to his credit.

With confident direction, acting and a serene soundtrack, Normal People (2020) is a consistently absorbing and emotional rollercoaster. What I would say it though it often feels as if you’re watching events unfold in extreme slow motion. This isn’t a criticism though, because in the stillness of the performances, the dwelling of the camera on the character’s faces and length of shots, we’re allowed the time to breathe in the joy and pain of this complicated romance. The two lead actors Phil Mescal and Daisy Edgar-Jones are both incredibly well cast. They have exquisite chemistry together in both their passionate sex scenes and when they just simply exist and talk and look and love and hurt together. One may gripe that the drama could have been achieved with a tad more pace and just a few less episodes. However, if you are looking for a truthful representation of young love, with all its angst, kinks, self-loathing, insecurities and exasperating undulations, then Normal People (2020) is definitely a worthwhile experience.

Mark: 9 out of 11

Netflix, Reviews, Television

NETFLIX TV REVIEW – DIRTY JOHN (2018)

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NETFLIX TV REVIEW – DIRTY JOHN (2018)

Created by: Alexandra Cunningham

Based on articles and podcast: Dirty John by Christopher Goffard

Directed by: Jeffrey Reiner

Writers: Alexandra Cunningham, Christopher Goffard, Sinead Daly, Lex Edness, Kevin J. Hynes, Evan Wright, Diana Son, etc.

Producer(s): Melinda Whitaker, Christopher Goffard, Nan Bernstein Freed, Jonathan Talbert, etc.

Cast: Connie Britton, Eric Bana, Juno Temple, Julia Garner, Jean Smart, Shea Whigham, Alan Ruck, Kevin Zegers, etc.

Composer: Mark Mothersbaugh

Original networks: Bravo (USA) and Netflix (UK)

Such is the veracious appetite journalists, writers, filmmakers, TV producers, podcasters and the audience have for true crime stories, it’s no surprise that the life of con-man, John Meehan, and his victims, was turned into a thrilling eight-part drama shown on Bravo and Netflix respectively. After decades of cons, fakery, impersonations, drug addiction, robberies, lawsuits, insurance scams, harassment, spying, stalking and consistent lying, Meehan’s criminal activities came to an end as recently as 2016. Meehan had been trained in the “art” of the con by his father from a young age. Alas, his nature could not, unlike his sister, overcome such spurious nurture and Meehan was destined for a life of crime. They say truth is stranger than fiction and that is very much the case here with some of his venomous antics quite unbelievable. However, Meehan must have had so much charm and confidence to trick the many women he deceived, his character sadly stands as a heinous example of toxic masculinity.

Eric Bana portrays John Meehan in Dirty John (2018). Bana is an excellent actor and arguably, based on his breakthrough performance in the film, Chopper (2000), one who I thought would achieve possibly more critical acclaim. His career is full of sterling work though and his handsome looks and rugged charisma are perfectly utilised as John Meehan. Indeed, when we first encounter him he is meeting Debra Newell (Connie Britton) for a date. After a sticky start the romance develops very quickly. Debra is a wealthy interior designer with her own business, and her character is exceptionally kind, but somewhat gullible. Even when her kids, Veronica (Juno Temple) and Terra (Julia Garner), warn her that something is rotten about John, her desire for John overcome any doubts she may harbour. As Debra, Connie Britton gives a brilliant representation of a woman who is desperate for love and companionship. Having said that, Juno Temple steals every scene as the mouthy daughter, Ronnie, someone who is certainly way more suspicious of John than her good-natured mother.

Structured around John and Debra’s developing romance are flashbacks to John’s prior relationships and crimes. While he is shown to be a really bad man, context is given during scenes from his youth. His father, portrayed by the excellent character actor, Shea Whigham, has young John eating a Taco with glass placed in it, so he can scam the restaurant. Such twisted examples of dire parenting give reason to John’s later behaviour, however, they should not excuse his actions in adulthood. They also explain John’s dependency on narcotics. This addiction to opiates, as well as a sociopathic desire to lie and cheat, drive the character and narrative powerfully. In the scenes where Debra, having incredibly given John another chance, helps him go cold turkey, Bana’s acting levels are most impressive.

As the drama proceeds and Debra and her daughters begin to discover the crimes of John’s past they themselves become targets of his malevolence. John is a beast Debra has alas invited into her life and one feels so much empathy for her and his other victims. Moreover, even when cornered and accused John Meehan is at his most dangerous. He often savagely attacked his accusers and their family members with severe vengeance. But, the scariest part for me was that he was “qualified” to be a Certified Registered Nurse Anaesthetist; a profession he exploited to rob and feed his drug addiction. Ultimately, I can recommend Dirty John (2018), to those who enjoy absorbing crime dramas. Some shows, with such “real life” narratives, can be exploitational in tone. However, this is a high quality production with excellent acting, writing and directing throughout. It really was edge-of-your-seat viewing, with Eric Bana’s multi-dimensional acting delivering a true monster for the millennium.

Mark: 8.5 out of 11