Tag Archives: Zendaya

Cinema, Comedy, New Releases, Reviews

Cinema Review: The Drama (2026) – a superbly constructed postmodern farce predicated on a mesmeric moral dilemma!

Leave a comment

Cinema Review: The Drama (2026)

Directed by Kristoffer Borgli

Written by Kristoffer Borgli

Produced by Ari Aster, Lars Knudsen, Tyler Campellone

Main cast: Zendaya, Robert Pattinson, Alana Haim, Mamoudou Athie, Hailey Gates, Zoe Winters etc.

Cinematography by Arseni Khachaturan

Edited by Joshua Raymond Lee & Kristoffer Borgli

*** MAY CONTAIN SPOILERS ***

I haven’t seen Kristofer Borgli’s prior film, Dream Scenario (2023), but have added it to the watchlist. I did see his hilarious black comedy Sick of Myself (2022) and found it to be a sharply executed and engaging piece of dark satire. Borgli expertly delivered a thought-provoking and unsettling reflection of modern attention culture, mental health and narcissism. With The Drama (2026) he has delivered an even more impressive and darkly awkward comedic farce! Yet, this is no traditional rom-com, but rather a panic attack inducing series of set-pieces predicated on a compelling moral dilemma at its heart.

The Drama (2026), contains magnetic performances from Zendaya and Robert Pattinson, and the couple have seriously good on-screen chemistry. Structured around their initial meet-cute the narrative builds comedic and emotional momentum as they fast approach their wedding day. Films built around weddings often use the impending ceremony as a pressure cooker, where personal insecurities and social expectations are forced to the surface. As such Four Weddings and a Funeral (1994) or My Best Friend’s Wedding (1997), find marital ceremonies representing both an ideal and a threat—exploring themes of timing, missed chances, and emotional honesty. Darker visions of wedding themes can be found in Melancholia (2011), but The Drama (2026) occupies a similar chaotic take like Rachel Getting Married (2008), but is arguably a more heightened exploration of love, identity, anxiety, and the uneasy gap between societal ideals and personal truth.

The Drama (2026) is a sharp, unnervingly perceptive piece of writing, elevated by a screenplay that constantly balances wit, discomfort, and emotional truth. Borgli has a remarkable ability to construct scenes that feel both grounded and quietly volatile, allowing tension to simmer beneath even the most mundane interactions. The film’s central premise hinges on a brilliantly executed moral and social dilemma—one that I won’t spoil—but it functions as an irresistible hook, drawing the audience into a spiral of increasingly complicated behaviour. What makes it so effective is how Borgli subtly turns the lens back on us, inviting us to question how we might respond under similar circumstances, and whether our own instincts would be any less flawed.

The casting is pitch-perfect across the board. Robert Pattinson delivers some of his most finely tuned reactive work as Charlie. His attempts to process Emma’s bombshell revelation are nothing short of priceless—awkward, hilarious, and painfully real all at once. Zendaya is just spotless, carrying much of the dramatic weight effortlessly. Alongside her, Alana Haim brings a compelling mix of confidence and fierce unpredictability, while Mamoudou Athie proves immensely likeable, grounding the film with a warmth that makes the emotional stakes land even harder. The supporting cast, too, feel carefully chosen, each performance adding texture to Borgli’s tightly controlled world.

Despite the undercurrent of anxiety that runs through many scenes, the film never alienates. Instead, it draws you closer. The characters are flawed but recognisable, and I found myself genuinely rooting for them to make it work, even as their decisions became more questionable. Borgli’s direction complements the script beautifully—never overstated, always precise—allowing the performances and writing to take centre stage. The result is a film that is as entertaining as it is thought-provoking: a brilliantly acted, sharply written, and quietly devastating exploration of modern relationships.

Mark: 9.5 out of 11

Cinema, Reviews

CINEMA REVIEW: DUNE (2021)

4 Comments

CINEMA REVIEW: DUNE (2021)

Directed by: Denis Villeneuve

Screenplay by: Jon Spaihts, Denis Villeneuve, Eric Roth

Based on: Dune by Frank Herbert

Produced by: Denis Villeneuve, Mary Parent, Cale Boyter, Joe Caracciolo Jr.

Cast: Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Dave Bautista, Stephen McKinley Henderson, Zendaya, Chang Chen, Sharon Duncan-Brewster, Charlotte Rampling, Jason Momoa, Javier Bardem, etc.

Cinematography: Greig Fraser

***MAY CONTAIN SPOILERS***

I truly hope Dune: Part One (2021), an epic adaptation of Frank Herbert’s legendary Dune literary series, has a second part, otherwise I would have wasted well over two hours of my life watching the Denis Villeneuve helmed film version. Having said that, there were times where I felt the glacial pace of the narrative caused time to stand still, boring me in the process. But, I get it. It’s part one and setting all the major players up and building a strange world both visually and imaginatively. As such perhaps Herbert’s books may have suited a HBO TV adaptation rather than a cinematic version.

Maybe I’m jaded and cynical though. Have I seen too many films and stories? Is Dune: Part One (2021) even worth the journey and perhaps it’s too old-fashioned a sci-fi story to create resonance for myself and these times? Well, it absolutely looks amazing. The special effects, sandy landscapes, behemoth buildings, underground monsters and space vessels are rendered with such believable authenticity they genuinely looked real on the screen. Frank Herbert’s (I haven’t read the books) vision is astoundingly realised as this futuristic world in a far, far galaxy felt like a moving work of art. But, it was extremely beige and brown and sandy looking on Arrakis, so much so that I was glad of the dark contrast in the scenes involving House of Harkonnen. By the way, I’m not often a fan of the natural cinematography style used here where during big action scenes at night I could hardly see anything. Moan over.

The story of Dune (2021) felt a bit old-fashioned as a classic hero’s journey. It didn’t help that the in-the-sand screenplay and Denis Villeneuve’s meditative, confident direction was too subtle for this story. I mean why do we care about Timothee Chalamet’s Paul Atreides and his family’s inheritance of the spice world’s of Arrakis? Without giving anything away it becomes a poisoned chalice politically in this world and Paul’s, his parents, and the House of Atreides’ lives all become endangered. So, while Frank Herbert’s novel was originally released to powerful acclaim in 1965 and five other novels would follow year’s later, a film version of Dune (2021) now feels outdated in terms of subtext. Villeneuve is a genius filmmaker, but I’m not sure, aside from the beautiful look of the locations, sets and actors there is much of a narrative to get our teeth into. Just another ‘white saviour’ quest, which is so drawn out in terms of the interminable slow pace at times.

Of course, the cast are wonderful to look at, but Chalamet is miscast for me. He is an incredibly talented young actor, but he is not given any character to get his teeth into. Villeneuve does a less-is-more style that I love and he’s obviously playing the long game with Dune (2021), yet he really needed a young Ryan Gosling to carry Paul Atreides as Chalamet isn’t given enough to do in terms of acting. Yes, there are massive worms and big explosions and floating fat men, but the story dragged. Thankfully, Jason Momoa injected some movie star charisma in his action sequences, while Rebecca Ferguson and Javier Bardem sprinkled some of their own spice amidst the over-controlled Villeneuve design.

I really wanted to like Dune (2021). I won’t see a more attractive and technically perfect rendition of a sci-fi world in the cinema in years. But, I could not connect with the narrative or drama. I mean, Paul is possibly the chosen one or something or other but why do we care? His mother is connected to some weird cultish sect — with the “Force” — and there are big worms which made me want to watch Tremors (1990); a far superior and shorter version of the hero’s journey. Watch that instead.

Mark: 7 out of 11

Cinema, Netflix, Reviews

NETFLIX FILM REVIEW: MALCOLM AND MARIE (2021)

Leave a comment

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