tag:blogger.com,1999:blog-86765368526422467672024-03-10T00:30:41.885-08:00Film FanaticJoshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.comBlogger676125tag:blogger.com,1999:blog-8676536852642246767.post-90496003955586287472019-02-06T15:29:00.001-08:002019-02-06T15:29:38.859-08:00At Eternity's Gate<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqtE6wNYr4HYGY5c508uvmkSIPzlgDt_xqG_vl8SemauyZ87aC0N9Fnvpr_aXf03SwgJ2LB9QZhCq1_uwab7oRPM6cEZLA2HLlf5KsTEKY7i4EdQOoRnCyQRSRdG_MDmEXvtH5nsIIHruA/s1600/48411770_10156020204248997_1484216285179936768_n.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="295" data-original-width="526" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjqtE6wNYr4HYGY5c508uvmkSIPzlgDt_xqG_vl8SemauyZ87aC0N9Fnvpr_aXf03SwgJ2LB9QZhCq1_uwab7oRPM6cEZLA2HLlf5KsTEKY7i4EdQOoRnCyQRSRdG_MDmEXvtH5nsIIHruA/s400/48411770_10156020204248997_1484216285179936768_n.jpg" width="400" /></a></div>
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<span style="font-family: Verdana, sans-serif;"><b><span style="font-family: Times New Roman; font-size: large;"></span></b><br /></span></div>
<h2 style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">"Sometimes they say I'm mad, but the grain of madness makes the best of art."</span></h2>
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<span style="font-family: Verdana, sans-serif;">There are any number of tonal approaches one can take when
recounting the life of a famous figure. You can focus on their achievements and
fame or downplay that in favour of focussing on their own personality, you
could specify on their place within the broader scope of art and the legacy of
what they brought to the field or try to observe them in a vacuum with the
attention being placed on them as an individual. You could even negate telling
a more cohesive version of their life story in favour of simply capturing a
mood of what it felt like to be that person. </span></div>
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<span style="font-family: Verdana, sans-serif;"></span><br /></div>
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<span style="font-family: Verdana, sans-serif;">Concerning the final years of artist Vincent Van Gogh
(Willem Dafoe). Living in southern France Van Gogh is in the midst of a
creative outpouring as he constructs many of his most recognised and enduringly
popular works. However amid this plethora of talent is a deeply troubled and tortured
persona, as his life is plagued by poverty and mental illness in a society that
regards him as a failure and a madman.</span></div>
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<span style="font-family: Verdana, sans-serif;">Van Gogh often typifies our cultural image of the tortured
artist, a figure whose genius is misunderstood by the world around them and
whose suffering in turn forms the substance of their art. That broader
perception of Van Gogh seems to be an essential element to ‘At Eternity’s Gate’
as director Julian Schnabel takes the famous artist as a figure for what it
means to be truly isolated and out of touch with all around you, to find the
empathy of others only in fleeting moments and to strive towards your creative
calling when all around you insist otherwise. He takes the story of the most
famous painter in history and frames it a manner that is both specific and
universal. </span></div>
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<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">It is not a conventional biopic, unconcerned with recapping
the known points of a famous life. Instead ‘At Eternity’s Gate’ is concerned
with the process of its subject and the underlying values he holds that define
his life. Several times through the movie Van Gogh is asked why he paints and
his response is that he could not live doing anything else. After inhabiting
his space for the length of this film it’s hard to disagree with his statement,
you feel completely in tune with Van Gogh’s search for meaning and desire only
to further his art. </span></div>
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<span style="font-family: Verdana, sans-serif;">That intimate feeling comes through in Schnabel’s direction
just as much as the screenplay. His camera moves ostentatiously but is always
intensely focussed on Van Gogh as a subject, remaining close to his facial
expressions and reflecting his own point of view. In moments of emotional
instability the camera moves more violently as if the world itself has lost all
control just as the artists own psyche has. Through its visual prowess ‘At
Eternity’s Gate’ masterfully translates the shifting attitudes and emotional
state of its subject before even a word has been spoken. </span></div>
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<span style="font-family: Verdana, sans-serif;"></span><br /></div>
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<span style="font-family: Verdana, sans-serif;">Obviously a film concerning one of the most acclaimed
painter of all time would be expected to have stellar cinematography, which ‘At
Eternity’s Gate’ most certainly does. The colour palette reproduces the moods
and shades of Van Gogh’s paintings, emphasising the rays of light and lines of
motion within each frame. The DP Benoit Delhomme brings a majestic sense of
freedom to each image, filling every wide shot with an expansive view of the
landscape the makes you understand why Von Gogh was so intent on capturing it
through his art.</span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg154RUYptNpWo4jCC0WiA0gxdXwNAAXzVnwAaZHpiQgEWbWxAZw2xWkCqvLOJ2p7N9Z7HLdLxWQkpAQhfYe2Hn45btKEMoPvcVbVMwgl7otroAjnoqXJSj3QyLBgrXAorVU4LuvH8B32KT/s1600/screen-shot-2018-11-26-at-6-51-17-pm.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="392" data-original-width="605" height="258" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg154RUYptNpWo4jCC0WiA0gxdXwNAAXzVnwAaZHpiQgEWbWxAZw2xWkCqvLOJ2p7N9Z7HLdLxWQkpAQhfYe2Hn45btKEMoPvcVbVMwgl7otroAjnoqXJSj3QyLBgrXAorVU4LuvH8B32KT/s400/screen-shot-2018-11-26-at-6-51-17-pm.png" width="400" /></a></div>
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<span style="font-family: Verdana, sans-serif;">Such an intensely focussed view allows the film to be a
stunning showcase for its lead performer. At 63 years old Willem Dafoe is
almost a full three decades older than Van Gogh upon his death, but in a
strange way it works for the portrayal at hand. Dafoe’s age bestows a sense of
world weariness to Van Gogh, as if his mental torture has taken on an exterior
form. It furthers his alienation from the world around him. That being said,
Dafoe’s performance is phenomenal enough to justify the age gap regardless. It
is both immensely powerful and appropriately subtle, not reducing the artist to
a series of emotional outbursts but instead conveying the more deep seated
dread that permeated his life every day. It allows him to channel the momentary
emotions Van Gogh felt in his lifetime as well as the deeper philosophical
ponderings that would risk feeling overly obtuse in the script, but through
Dafoe’s performance become utterly engrossing. </span></div>
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<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Though Dafoe is very much at the heart of this film and the
only actor required to give a performance of great depth, the supporting cast
are excellent at reinforcing this singular vision of Van Gogh and how he
relates to the world. The always terrific Oscar Isaac serves as one of the few
people the painter can relate to with his portrayal of artist Paul Gauguin. Another
sympathetic voice is Rupert Friend as Vincent’s brother Theo, while his sparse
appearances would make it inaccurate to say that Theo and Vincent’s dynamic if
a major narrative point of the film the scenes that feature the two of them
does make for some of the film’s most emotionally resonant moments. Meanwhile
Mads Mikkelsen only appears for one scene yet his role is still vital to the
film’s overall conceit, a part that Mikkelson delivers with ease. </span></div>
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<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Schnabel does risk becoming overly repetitive as the film
progresses, repeating the same philosophical talking points. But that does
stress the significance of those talking points in how they drove Van Gogh’s motivation
to paint. The film elevated in how it skips the usual dramatic points of a conventional
biopic in favour of the more nuances approach to exploring its subject. A prime
example of this would be to take note of how the film omits to show Van Gogh’s
self-mutilation of cutting off his ear, instead only focussing on the build-up
and aftermath of the incident. It is not a film concerned with simply restaging
or recounting the artist’s life, instead it seeks to capture a prevailing atmosphere
and outlook that defined his life. In other words it is not about what Van Gogh
painted, but what he could see. <span style="margin: 0px;"> </span><span style="margin: 0px;"> </span></span></div>
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<span style="font-family: Verdana, sans-serif;"></span><br /></div>
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<span style="font-family: Verdana, sans-serif;">A poetic and visually expressive portrayal of an artist’s
life that features a truly phenomenal lead performance by Willem Dafoe. </span></div>
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<b style="mso-bidi-font-weight: normal;"><span style="font-family: Verdana, sans-serif;"></span><br /></b></div>
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Result: 8/10</span></h2>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Verdana, sans-serif;"></span>Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com1tag:blogger.com,1999:blog-8676536852642246767.post-14620310104947990502019-01-30T16:34:00.000-08:002019-01-30T16:34:11.903-08:00Beautiful Boy
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNNv7SCwE8YADSo0FQCoO1iTgliOQuRFWs7KJdt_eRMbVvt31el5Z82a1SI15ySQQHN-3Rc8iTUS5Ca2ybclNuaVqKZc-hK47Y5YQizr4jGfX3TsY01hVhk5A81GVBM99U4zIg36Uj-rdO/s1600/desktop-wallpaper-1.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1024" data-original-width="1280" height="256" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiNNv7SCwE8YADSo0FQCoO1iTgliOQuRFWs7KJdt_eRMbVvt31el5Z82a1SI15ySQQHN-3Rc8iTUS5Ca2ybclNuaVqKZc-hK47Y5YQizr4jGfX3TsY01hVhk5A81GVBM99U4zIg36Uj-rdO/s320/desktop-wallpaper-1.png" width="320" /></a></div>
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<span style="font-family: Verdana, sans-serif;"><br /></span></h2>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-family: Verdana, sans-serif;">"There are moments that I look at him, this kid that I raised who I thought I knew inside and out, and I wonder who he is."</span></h2>
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<span style="font-family: Verdana, sans-serif;"></span><br /></div>
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<span style="font-family: Verdana, sans-serif;">I tend to find there is a level of comfort certain audiences
are willing to accept when it comes to hard hitting drama. Filmmakers can
explore topics up to a certain point, but when it comes to some of the ugliest
subjects they try to reel back or gloss the picture in some way so as to avoid
crossing a line that will risk making an audience too uncomfortable. It’s an
issue I often have with many prestige dramas, films that are committed to
exploiting the emotional resonance of a story without delving into the harsher
reality within the subject. </span></div>
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<span style="font-family: Verdana, sans-serif;"></span><br /></div>
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<span style="font-family: Verdana, sans-serif;">Writer David Sheff (Steve Carell) is shocked to discover
that his teenage son Nicholas (Tomithee Chalamet) has gone missing. Upon
finding him, Nicholas shows obvious signs of drug use which rapidly becomes a
severe addiction. As his condition worsens Nicholas leans on his father for
support in a long and tumultuous battle to overcome his addiction and resume
his life.</span></div>
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<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">When it comes to its broad structure and pace, there is a
lot to suggest that ‘Beautiful Boy’ might be more attentive to the difficult reality
of its subject. Its narrative is littered with recoveries and relapses as David
tries to pull his son away from his debilitating addiction only to be unstuck
time and time again. There are crushing moments when any hope both the audience
and the characters had is wrenched away and even those closest to Nicholas
question whether there is anything they can do in the face of his terrible
affliction. </span></div>
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<span style="font-family: Verdana, sans-serif;">It’s a devastating watch, or at least it should be. While
the story beats of the film suggest a gruelling and emotionally draining
experience, I found myself falling short of that response through the subtleties
of the films execution that seemed frustratingly at odds with its bleak and
cyclical tone. Overbearing editing that seems insistent in stressing the horror
of the situation when that very emphasis feels unnecessary. <span style="margin: 0px;"> </span>There are also music choices that conform to
the same conventions any standard drama would, coming across as manipulative
and melodramatic as if the film lacked confidence in the conviction of its own
emotional power. </span></div>
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<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">In short it is a classic example that less can ultimately be
more. There are scenes which feel promising in their resonance only to be
interrupted by needlessly manipulative tools that placed a barrier between the
subject and how the film chose to represent it. Rather than enhancing the
emotional weight of the scenes these aesthetic choices lessen it, adding a
sense of melodrama to a story that was already plenty dramatic enough. </span></div>
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<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">This is especially frustrating when Chalamet and Carell
already do much of the heavy lifting with the strength of their performances.
Their dynamic on screen are consistent enough so that when Nicholas and David’s
usual patterns of interacting with one another is broken, that alone conveys a
sign of trouble and elicits an emotional response. Their bond is a driving
force of the movie, how they communicate and relate to one another serves as a
dramatic crux which provides a narrative to Nicholas’ addiction. </span></div>
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<span style="font-family: Verdana, sans-serif;"></span><br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4ScIEdpXC03KtMWCt6q36ctsJmDAlZrWwjy0tWt49FkKfp9gFUXcWT82RGaoPonklfehCtDpki2mnOhy3c84AMP9eFR7Dmn5rzJxetRr_ahGQB56t_jUdMO3K-diFv1Zm3WCODqetVMu9/s1600/beautiful-boy-7.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="1000" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4ScIEdpXC03KtMWCt6q36ctsJmDAlZrWwjy0tWt49FkKfp9gFUXcWT82RGaoPonklfehCtDpki2mnOhy3c84AMP9eFR7Dmn5rzJxetRr_ahGQB56t_jUdMO3K-diFv1Zm3WCODqetVMu9/s400/beautiful-boy-7.jpg" width="400" /></a></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">When looked at separately, Carell is definitely evocative as
the stable presence in the story. His need to support his son without judgement
is one that makes the character effectively endearing, as Carell portrays the
confidence David has in his son to rise above his current condition with
brilliant steadfastness. There’s such conviction in this part of his
performance that when David’s confidence does waver and he begins to lose hope,
an aspect Carell also conveys excellently, you feel the full weight of his
emotional strain. </span></div>
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<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Meanwhile, Chalamet has the more tumultuous role as
Nicholas. It’s a performance that requires Chalamet to convey the sense of
promise and hope just as powerfully as that of despair and depression so as to
make the characters constant cycle of recovery and relapse all the more
powerful. To sell this with such heft time and time again as Chalamet does is
an impressive feat, but what elevates it further is the young actor’s ability
to never repeat his emotional output. Each time Nicholas relapses it does not
feel repetitive due to the nuance with which Chalamet portrays these falls,
each instance takes note of the passing time and ways in which the character
has developed rather than simply expressing anguish without purpose. </span></div>
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<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">As I said however, it makes it all the more frustrating that
the intricacies of ‘Beautiful Boy’ cannot live up to the broader strength
within it. The screenplay’s narrative tool of flashing forwards and backwards
is effective at portraying the length of Nicholas’ addiction and the enduring
impact it has on those around him, however it also makes for confusing and
awkward story beats that don’t leave any room to explore the context around
Nicholas and David’s struggles. All of this is to say nothing of how it wastes
the women within the story, often reducing David’s current and ex-wife to interchangeable
props that exist to relay a specific moral argument to him. They do not come
across as fully formed characters so as the movie progresses without bestowing
them with any depth, it becomes more and more difficult to remain endeared. </span></div>
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<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Even the screenplay’s strongest aspects soon begin to suffer
as a result of this. What began as a film that defied convention and portrayed
addiction as a complex and recurring trial, builds towards a standard climactic
end point that while not inherently flawed just feels so at odds with what ‘Beautiful
Boy’ established itself as. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Despite two highly commendable performances, ‘Beautiful Boy’
lacks the conviction and the nuance in its own dramatic power to transcend its
narrative conventions. </span></div>
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<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></h2>
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Result: 5/10 <span style="margin: 0px;"> </span><span style="margin: 0px;"> </span><span style="margin: 0px;"> </span></span></h2>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Verdana, sans-serif;"></span>Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com0tag:blogger.com,1999:blog-8676536852642246767.post-16249890620986656342019-01-30T16:25:00.000-08:002019-01-30T16:25:53.740-08:00The Rider
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZppu6As59Vx-YsJVOTEqO5YX-XZlzmBQ4zpsuNfDFDsiM1Nszkj84kAj9szlbwzYzqYQFt0OeQ8jLlrhpWflknlYO2W7dtgflfbEOtJLnPVaVfIMeMyfCKqBkDs2hwZlP4c33Ot9AehHZ/s1600/the-rider-featured.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="628" data-original-width="1200" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZppu6As59Vx-YsJVOTEqO5YX-XZlzmBQ4zpsuNfDFDsiM1Nszkj84kAj9szlbwzYzqYQFt0OeQ8jLlrhpWflknlYO2W7dtgflfbEOtJLnPVaVfIMeMyfCKqBkDs2hwZlP4c33Ot9AehHZ/s400/the-rider-featured.jpg" width="400" /></a></div>
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<span style="font-size: small;"></span><span style="font-family: Verdana, sans-serif;"><br /></span></h2>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-family: Verdana, sans-serif;">"I believe god gives each of us a purpose. For a horse it's to run across the prairie, for a cowboy it's to ride."</span></h2>
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<span style="font-family: Verdana, sans-serif;"></span><b></b><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">It is always intensely fascinating to see a filmmaker tackle
a subject and environment that is outside of their own perspective and environment.
As a female director who hails from Beijing, Chloe Zhao’s portrait of
masculinity set against the backdrop of the American Midwest that we see in her
second feature ‘The Rider’ feels so beautifully and painfully authentic that it
is astonishing just in its sheer presence. Before even mentioning the lyrical poignancy
of the film or its thematic weight, just the most surface level observations
are worthy of praise. </span></div>
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<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Once a rising star on the rodeo circuit, Brady Blackburn’s
(Brady Jandreau) life is altered by a severe accident, causing brain damage
that leaves him with impaired motor abilities and prone to seizures. Unable to
ride, he finds himself aimless and unsure of what his purpose is as he searches
for ways in which he can provide financial support to his father and sister.</span></div>
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<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">With her use of untrained actors who are essentially playing
versions of their own lives, Zhao’s film is about as close to a documentary as
narrative cinema can get. It would be difficult not to overuse the word “truthful”
to describe ‘The Rider’ as it truly as a deeply authentic look into an individual’s
life which in turn shines a light on the very environment he was born into. It
a film which is as much about the backdrop as its characters, a study of
masculinity, morality and expectations placed upon someone whose sole purpose
in life is suddenly ripped away from them when they least expect it. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">The film contains so
many faithful examples of the day to day reality that I found myself overlooking
some of the most remarkable instances of this. Whether it is the film showcases
Brady’s training of horses, or his preparations to ride one, or simply his instructions
towards others about to do the same, the nuance of the movement and complete commitment
to the story at hand ultimately crosses the line between what one could even
consider a performance. Apparently some of these events were not even planned,
but simply a natural subtlety which Zhao captured during the shoot. Once you
see the film you realise unsurprising that piece of behind the scenes
information actually is. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">It’s for that reason that I am slightly at a loss for how to
describe Jandreau’s performance as it is more a reflection of his own life than
any acting role. But then again to render yourself in such a brutally honest
light, from Brady’s psychical limitations to his emotional despair of not being
able to pursue what he loves, is brave and endearing beyond words. Even without
knowing the history of this film’s leading man I found myself completely
immersed in his plight and struggle both to piece his live back together and
find new meaning from within those pieces. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Zhao is far from obsessed with purely this one man though,
her emphasis on the landscapes and rough terrain within ‘The Rider’ reinforces
the film’s thematic crux of being just as focussed on the world which Brady
inhabits. The rodeo circuit is shown to be a striking and remarkable one, but a
profession that can be broken by in a matter of seconds for those performing.
The story is populated with others like Brady, who have faced injuries in the
rodeo from which they will never fully recover. They are all a haunting
reminder of this devastating point, that for all its showmanship and time
honoured traditions the circuit has claimed plenty of casualties. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Rz8wDdG2vSNiahwW8QKqIk44GU0r4BlbsyylS7WFBHz1ABCktBU7zZo73m_sDbFuL4inJJ2YAuqd6crvNjGZV2JyyxyV54sW-pSnpgyT3dREfwVLY8i8duF-S8Z-3NNHbTEMSXO6kYwT/s1600/1-55d06ede-32b9-4315-9fc5-07db48e8e0bd.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6Rz8wDdG2vSNiahwW8QKqIk44GU0r4BlbsyylS7WFBHz1ABCktBU7zZo73m_sDbFuL4inJJ2YAuqd6crvNjGZV2JyyxyV54sW-pSnpgyT3dREfwVLY8i8duF-S8Z-3NNHbTEMSXO6kYwT/s400/1-55d06ede-32b9-4315-9fc5-07db48e8e0bd.jpg" width="400" /></a></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">However it would be insensitive to imply that these
characters are treated as ghosts whose only purpose is to reinforce a thematic
crux. Many of these actors are, like Jandreau, barely separated from their
filmic counterparts, and Zhao frames them with such empathy that the scenes
involving them make for immensely intimate cinema. The humanity within these
interactions, where each small triumph and moment to laugh, is apparent and
revelled in. They are still most certainly living, despite their injuries, a
point which ultimately ties into an emotionally resonant conversation between
Brady and his sister near the end of the movie. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Once you near the end of the movie it becomes apparent that ‘The
Rider’ possesses no clearly defined plot, or at least not in the conventional
sense. There is no overarching narration or any build towards a climactic
conflict. It’s more a collection of experiences that reinforce a theme, a
method that can often descend into aimless meandering. However the movie retains
that immersive feel for the entirety of its runtime. The strength from which is
makes Brady’s experiences and struggles absorbing is how it demands the viewers’
attention. He is framed closely and intimately, allowing us to observe every
subtlety within his demeanour. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">The way in which Zhao’s film unfolds could most certainly be
described as poetic, a lyrical tone that manifests itself within every scene of
the movie. In its sweeping wide shots in which it dwells on the landscape
itself, the film almost seems to be asking the viewer to ponder the deeper
themes at hand just as Brady does numerous times throughout the film. But
rooted within all of this thematic storytelling is a narrative of deep
humanity. Above all else you can constantly connect to Brady’s own desire to
simply follow his dreams while his body refuses to let him. It’s a story we
have seen before but rarely has it been rendered with quite the level of expressive
beauty as Zhao has here. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">‘The Rider’ is a hopeful, heart-breaking and deeply humane
vision that blurs the lines between cinema and reality. <span style="margin: 0px;"> </span></span></div>
<br />
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></h2>
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Result: 8/10</span></h2>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Verdana, sans-serif;"></span>Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com0tag:blogger.com,1999:blog-8676536852642246767.post-50834028858044845072019-01-28T17:07:00.000-08:002019-01-28T17:07:08.269-08:00Mid90s
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3sE4Zmu1dgUl2R3rdiADDHb8orEAB8TkjcMAA9nPiyc5DtbyGjIJV7kBTSsBJprK8Iboqaz3hHORP1Qa-RRya6nH18rtgj-x5Rf1PKrjTZk1cSJiTfUsae5WVxTMYA-qREaq8-n8bZEPb/s1600/mid90s.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="980" data-original-width="1500" height="261" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi3sE4Zmu1dgUl2R3rdiADDHb8orEAB8TkjcMAA9nPiyc5DtbyGjIJV7kBTSsBJprK8Iboqaz3hHORP1Qa-RRya6nH18rtgj-x5Rf1PKrjTZk1cSJiTfUsae5WVxTMYA-qREaq8-n8bZEPb/s400/mid90s.jpg" width="400" /></a></div>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-size: small;"></span><span style="font-family: Verdana, sans-serif;"><br /></span></h2>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-family: Verdana, sans-serif;">"A lot of the time, you feel that our lives are the worst. But if you look in anyone else's closest, you wouldn't trade your shit for their shit."</span></h2>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><b></b><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">I feel as I’ve spoken several times over the past few years
about first time directors and their tendency to resort to coming of age films
as their feature debut. On the surface one could assume that is simply so they
can pull from their own life experiences but that does not necessarily have to
be accurate. More than any specific story a coming of age film can represent a feeling,
a need of urgency or the burgeoning experiences from its subjects. It can also
be about a specific era, an environment one might not have been a part of but
still shaped them in some way. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">In mid-1990s Los Angeles, 13 year old Stevie (Sunny Suljic)
lives with his aggressive older brother (Lucas Hedges) with whom he is
constantly fighting against, and his mother (Katherine Waterston) who tries to
broker peace between the two siblings. Stevie soon falls in with a group of
skateboarders and joins them as they roam through the city day after day,
looking for meaning or simply something to pass the time. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Jonah Hill has certainly crafted a promising introduction here,
regarding both the opening shots of ‘Mid90s’ specifically and the broader
potential his career may have. This is a film which possesses a strong level of
craftsmanship and clear intent, with its greatest feat of visual storytelling
coming in the first scene. Without even a single piece of text to inform us,
Hill instantly transports the audience to the heart of the mid-90s with a
simple layout of a teenager’s bedroom. His meticulously framed shots that mix
in pop culture iconography, stylistic flourishes and general aesthetic choices
all convey such a distinct sense of time that the film succeeds in immersing
you within its environment in the opening moments. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">While as a whole ‘Mid90s’ never quite lives up to the
brilliance of those early moments, there are still plenty of brilliant touches
throughout the movie. Some of its imagery is almost poetic in its beauty, the
performances feel wonderfully authentic and Hill’s ground level view of the
subject yields some profound observation on this small stakes narrative. Ironically
‘Mid90s’ suffers from being too middling, stuck awkwardly between a more minimalistic
view of proceedings only to then hint at a broader view that it never really
follows through on. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">It’s especially frustrating for a film in which the main
thematic crux is the perspective one’s own life has when contrasted with
others. While much of the focus is on the protagonist, as the movie progresses
it shifts more to the supporting characters and alludes to their own struggles.
But rather than give exposition on the other characters in a way that feels
natural to the narrative, the film just outright states each characters
backstory in a single moment. Though I can understand it serves as a rare
moment of openness for these teenagers, it also feels clunky and somewhat
forced. It builds to a relatively contrived third act conflict that ultimately
does not add much meaningful substance to the movie. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">So somewhere between this minimalist story of teenage
layabout in LA and this deep drama regarding young and conflicted lives is ‘Mid90s’.
In a dissonance that affects the tone and pace of the film as well, switching
between scenes that feel lose and free with others that try to set up or
resolve a conflict of sorts. It’s the kind of film where a scene of random
house party antics with lead into severe emotional warfare, or the kind where a
character will break down in tears only for it to never be resolved or
referenced again. </span></div>
<br />
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<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieDDZxfwI3fEO8uRw5xmGQs0ost4cPvxH535YuCb2mxWY5_5IABKMOk-KdH1negKSDZakDGuVQmXrSur5BGuUFHr_zXJh9u44a9a9s-IyZBgisCpDPZeI8nOUsTJM_J2vIgqdvBNqz_Mx2/s1600/lead_720_405.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="405" data-original-width="720" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEieDDZxfwI3fEO8uRw5xmGQs0ost4cPvxH535YuCb2mxWY5_5IABKMOk-KdH1negKSDZakDGuVQmXrSur5BGuUFHr_zXJh9u44a9a9s-IyZBgisCpDPZeI8nOUsTJM_J2vIgqdvBNqz_Mx2/s400/lead_720_405.jpg" width="400" /></a></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">But amidst those teething problems is a film of energy and
value. While the dynamic of Stevie’s group is never explored in any great
detail, it is instantly conveyed with a sense of great confidence from Hill.
His placement of the characters and his attention to the nuances of their
interactions is functional enough to tell a story on its own. He is confident enough
to let certain character details communicate a story just in their existence.
Hill lets their daily exchanges, their dialogue and the places they visits
serve as a means to endear you to the group and their routine. Much like Stevie
when you become accustomed to their activities and dynamic you feel satisfied at
being rooted within this circle of friends. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">The group of skaters feel palpably real as a result of the
actors as well, with each of the young performers filling in their roles
superbly. They handle the chilled conversations and comedic banter with a sense
of infectious effortlessness, however it was then a pleasant surprise to see
how capably they each handled the more dramatic moments as well. Even if the
scenes of high conflict do feel slightly contrived in the broader narrative,
the actors in question rarely have a misstep when it comes to conveying how the
characters feel in those intense flashes. As much as I complain about the allusions
of depth that are never quite fulfilled, it would be interesting to revisit the
movie bearing each character’s history in mind and noting how the young actors bared
that in mind. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Perhaps Hill titled his film ‘Mid90s’ for the specific
reason that above all else it is about a specific time and place. It’s
atmospheric and immersive, drawing the audience into its environment and being
mostly content to observe the characters within it. The hazy streets of LA shot
with an almost dreamlike focus, scored by the iconic and varied sounds of that
decade, make for a wonderfully grounded view. I just wish it was more
frequently self-reflective than the characters occasionally are. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Well-crafted and clearly personal, ‘Mid90s’ is an imperfect
but still capably strong directorial debut. </span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<br />
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Result: 6/10</span></h2>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Verdana, sans-serif;"></span>Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com0tag:blogger.com,1999:blog-8676536852642246767.post-8171511037933970942019-01-28T15:33:00.002-08:002019-01-28T15:33:40.741-08:00Sorry to Bother You
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKXcBjlHu39s820XL3Ac5m9b2pUhw4SSS61vx0rReFGv8xKOKPAGa0Ezjjfo3W3QdcjuxEocB8_vjPNHFSZp5y2BXEPK9Pjy6fD9Ym2BBGBudz6chanZSzC0zoyXf_F8cnI5nojBKfBxZ0/s1600/Sorry-To-Bother-You_Poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="418" data-original-width="610" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKXcBjlHu39s820XL3Ac5m9b2pUhw4SSS61vx0rReFGv8xKOKPAGa0Ezjjfo3W3QdcjuxEocB8_vjPNHFSZp5y2BXEPK9Pjy6fD9Ym2BBGBudz6chanZSzC0zoyXf_F8cnI5nojBKfBxZ0/s400/Sorry-To-Bother-You_Poster.jpg" width="400" /></a></div>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-size: small;"></span><span style="font-family: Verdana, sans-serif;"><br /></span></h2>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-family: Verdana, sans-serif;">"We will have a transformative experience."</span></h2>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><b></b><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">In this day and age it’s almost impossible enter a movie
completely blind. Internet chatter, reviews and audience reactions can give you
a basic assumption of what a certain movie will be before you have even seen
it, and that isn’t even taking into account the advertising which aims to try
and sell the audience the movie’s conceit, or at least a version that is easily
digestible. With all that in mind I was anticipating a surreal experience when
I approached Boots Riley’s ‘Sorry to Bother You’, but that does not begin to
scratch the surface. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">In the city of Oakland, a down on his luck Cassius Green
(Lakeith Stanfield) finds work as a telemarketer. Cassius begins to flourish in
the profession due to his tactic of using a “white voice” to entice customers
and improve his sales. As his own stature escalates however, he comes into
conflict between his own career ambition and the needs of his co-workers as
they stand and fight against the corporate oppression hanging over them all. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">The most striking selling point of ‘Sorry to Bother You’ is
the aforementioned “white voice” that proves integral to the plot. A narrative
device that is both surreal in execution but contains a strong element of
grounded realism to it. I was under the impression that it would allude to the
film’s central thematic crux (namely a statement on race relations) and be the
high point of the film’s turn into surrealism. However even those already
specific expectations were blown completely out of the water. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Though issues of race dynamics and relations do factor into the
theme of ‘Sorry to Bother You’, Boots Riley’s film is ultimately far more audacious
and daring in what it is saying, as well as how blunt and evocative its
statement is. Riley’s movie is concerned with class, capitalism, labour laws,
the rights of workers, the media we consume every day and the intersection at
which all of these subjects collide. It’s a tour de force of argumentative
filmmaking that is as much a scathing satire of modern life as it is an
exercise in constantly subverting audience expectations. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">The movie’s existence is in of itself a paradox, simultaneously
absurd and unreal beyond almost anything else to hit cinemas in recent years
whilst also being so thoroughly grounded in real world concepts that is speaks
loudly and confidently about. It is certainly a blunt and direct movie, which
could become grating had its theme been limited to just one subject. However
Riley traverses such an array of topics that the film avoids growing stale. The
fact that his methods of conveying those themes to the audience only grow more
overt as the film progresses make the pace and structure of the message even
more meaningful. Some have deemed the third act as a twist or harsh left turn,
but I would simply regard it as the escalation of what came before it. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHnlVYpqnJACdhWAbMkYOvSJwi1-VKAt125rJ6_ezGSd5K7vF89Eq-ho4_QqWYG6zc1mdqfJWLtz-ZCuulOvnAYh05FN91QkxzO8txhmrayq2Hckg9EFql-p8oGaRUBKAjYziVaU8XpQ_k/s1600/l_2.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="433" data-original-width="768" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHnlVYpqnJACdhWAbMkYOvSJwi1-VKAt125rJ6_ezGSd5K7vF89Eq-ho4_QqWYG6zc1mdqfJWLtz-ZCuulOvnAYh05FN91QkxzO8txhmrayq2Hckg9EFql-p8oGaRUBKAjYziVaU8XpQ_k/s400/l_2.png" width="400" /></a></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">It’s rare in this day and age to see an ensemble cast of
this calibre so utterly committed to a project this inherently bizarre. However
Riley has assembled just such a cast with the likes of Lakeith Stanfield, Tessa
Thompson and Steven Yuen who are definitely the most humane voices in this
darkly comedic trip. Each actor brings a distinct level of grounded morality
that provides some clarity to the more deranged aspects. ‘Sorry to Bother You’
might risk being little more than empty absurdity but the nuance of these
characters puts those oddities in a human context that serves as a statement on
the real lives affected by these harder to grasp concepts. If you can’t wrap
your head around the broader ideas Riley is commenting on then you can at least
appreciate the empathetic performance of Stanfield as he traverses his own
nightmarish journey. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Other actors like Armie Hammer and Omari Hardwick are very
much caricatures, but they are caricatures that serve as stand in for wider
ideas. Every character placement, every design choice and every plot point all
serve Riley’s powerful and provocative declaration. ‘Sorry to Bother You’
demands repeat viewings as your first outing might leave you awestruck at the
sheer absurdity of the narrative, however a closer look will reveal the many
subtle ways the film goes about making a statement. <span style="margin: 0px;"> </span></span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">However it would be easy to focus on the audacity within the
script of ‘Sorry to Bother You’ that one may overlook the visual dynamics of
Riley’s direction. According to the writer/director he attempted to pass the
script around the film industry for several years looking for a director, only
to be told and resolve that only he could direct it. Observing the way Riley
handles the film’s elevated satire whilst not forgetting the dramatic irony
that makes its thematic conceit so ultimately powerful, it’s hard to disagree
with that assessment. He ensures that every scene of the film is pulsating and robust,
so that it never descends into a simple lecture. As much as I’ve droned on
about the direct ways ‘Sorry to Bother You’ communicates with the audience, one
should never overlook Riley’s ability to do that with a single image. There are
frames of this film that have more to say than the entire scripts of other
movies. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">A darkly comedic, broadly topical and increasingly absurd
tour de force, ‘Sorry to Bother You’ is a proactive and deliriously energetic
work of cinema.</span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Verdana, sans-serif;"></span><br /></b></div>
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Result: 8/10</span></h2>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Verdana, sans-serif;"></span>Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com0tag:blogger.com,1999:blog-8676536852642246767.post-71116281601415782092019-01-23T17:27:00.000-08:002019-01-23T17:27:01.455-08:00The Old Man and the Gun <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmULVthEfpaLn3-JsM3YG6rGD69V-QlonfDFlU-f0xquhhWmJkp7QJbGlqCxHTHrPWG9_2GXPSo03wkfo1WFcVmc5myERkrlZQ0SGmm0zp_yGR0qHWcd2xuJ2-CBB_n3bXnkxLmvTM50Bu/s1600/6493a222897bce37bf7c6f55a8f4b4a9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="533" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmULVthEfpaLn3-JsM3YG6rGD69V-QlonfDFlU-f0xquhhWmJkp7QJbGlqCxHTHrPWG9_2GXPSo03wkfo1WFcVmc5myERkrlZQ0SGmm0zp_yGR0qHWcd2xuJ2-CBB_n3bXnkxLmvTM50Bu/s400/6493a222897bce37bf7c6f55a8f4b4a9.jpg" width="400" /></a></div>
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<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<h2 style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">"I'm not talking about making a living, I'm just talking about living."</span></h2>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">David Lowery’s body of work is one of the most intriguing
from any director of recent memory. Just for the sheer variety of that output
alone. His 2013 debut from the grounded romance or ‘Ain’t Them Bodies Saints’
to the emotional maturity of ‘Pete’s Dragon’ as well as the lyrical immersion
of ‘A Ghost Story’, those three films alone are wildly different in conceit and
execution. His latest film is different yet again. A film that is much like its
protagonist, suave and deceptively smooth. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">At the age of 61, career criminal Forrest Tucker (Robert
Redford) is wanted by the law. Having escaped from prison on numerous occasions,
Tucker is currently conducting a string of audacious bank robberies across the
country. Closely connected to Tucker’s crime spree is detective John Hunt
(Casey Affleck) pursuing him, and Jewel (Sissy Spacek) who is fascinated and
infatuated with Tucker in spite of his profession. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Despite its directors impressive track record, ‘The Old Man
and the Gun’ is not being thought of as the fourth David Lowery film as much as
it is labelled the last Robert Redford film. Having announced his intent to
retire from acting, this is likely to be the 82 year old’s final on screen
role. Part of me has to wonder if Lowery was aware of this at some point in the
film’s production as it possesses such a wistful and bittersweet tone. In leans
into Redford’s own legendary status and seems to serve as a swansong for his
prolific career. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">I could be projecting some of this but there truly does seem
to be an added sense of weight to ‘The Old Man and the Gun’ when viewed in the
context of it being Redford bowing out. First and foremost it is a role that
seems tailor made for him, with Tucker’s charm being an essential element to
his crimes. Even the victims of his robberies describe him as polite and
gentlemanlike, and as an audience you can’t help but agree with them. Despite
the criminality of what he is doing, it’s almost impossible not to be endeared
by Redford’s bright blue eyes, smooth smile and charismatic tone of voice. </span><b style="mso-bidi-font-weight: normal;"></b></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">In many ways ‘The Old Man and the Gun’ is an amalgamation of
Redford’s finest qualities as an actor. The role requires him to be suave and roguish,
but also humorous and deeply sincere. Too far in any direction and Tucker would
seem less empathetic, which would in turn lessen the entire film, but something
about Redford’s presence bestows that perfect balance onto the entire movie.
While the movies does not overtly condemn or condone Tucker, it definitely
sympathises with him. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">As well as not placing any moral judgement on the story, the
film’s tone is also decidedly more laid back and easy going. There’s no forced
urgency to the narrative even though it concerns a career criminal, which makes
it unique among this genre. There are a few chase sequences but I would
describe them as being almost lyrical in tone. There’s a strange beauty to
seeing Tucker so completely in defiance of the world around him, accompanied by
a tinge of sadness that he seems incapable of knowing enough is enough. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbAvXcVDvv-5F7JfrdHhpTVn7TxJyv-QhzfQD7HI4ta0b6DwCEVig6414Xbm8cNFy4Qn_DX9CdEIr6KVbsRimiRfYAh4vjVUW53Xdg-dXBCp3CKrAbjvgcA3o-xqv_Xqu6sHP66k636IDw/s1600/image.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="349" data-original-width="620" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhbAvXcVDvv-5F7JfrdHhpTVn7TxJyv-QhzfQD7HI4ta0b6DwCEVig6414Xbm8cNFy4Qn_DX9CdEIr6KVbsRimiRfYAh4vjVUW53Xdg-dXBCp3CKrAbjvgcA3o-xqv_Xqu6sHP66k636IDw/s400/image.jpg" width="400" /></a></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Lowery seems much more intrigued by the nuance in the human interactions
within his story. If anything the film is less about Tucker and more about the
lives he leaves an impact on. Whether they love him or loathe him, almost every
character in the film eventually becomes fascinated and mystified by him.
Characters like Jewel know him personally, as she struggles to reconcile the
way she loves him as a person with her concerns surrounding what he chooses to
do with his life. Other characters such as Detective Hunt view Tucker mostly as
this obscure entity, rarely meeting face to face and adamant that he will put
him behind bars. However amidst that obsession there is an odd sort of
admiration Hunt feels for the aging escape artist. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">There really is a lot to marvel at in the approach Lowery
and his crew take to executing this story. Any other filmmaker might feel
compelled to lean into heavy handed drama or bitter irony, but instead the film
flows in an almost fleeting style. It never dwells or indulges in anything but
instead observes each encounter as it ploughs forward. It does not aim to
explore or understand these characters as much as it simply wants to marvel at
their communication with one another. This is never clearer than the scenes
with Redford and Spacek, as the film seems content just to be in their presence
and revel in their conversations. There are few actors for whom this approach would
work, but in the company of legends such as these it seems completely fitting. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">If this is Redford’s final film it is all the more poignant
that is resembles something that came from his heyday, with cinematographer Joe
Anderson doing the utmost to evoke a distinctly 1970s pastiche. I can’t deny
that part of this film’s emotional resonance does not come from it possibly
being Redford’s swansong, often utilising the actors own prolific legacy to do
so. At one point Tucker is asked if he has ever ridden a horse and he answers
that he has not, which almost seems like a joke as my mind immediately reverted
back to Redford’s iconic portrayal of the Sundance Kid. That is just one small
example of how a film can lean on something broader than its own presence to
affect us, and in this case it happens to be the on screen farewell of a
legend. That being said, speaking personally to Robert, if you ever felt like
backtracking this whole retirement thing I would be happy with that. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">‘The Old Man and the Gun’ is an eloquent and endlessly
charming portrayal of a man who, for better or worse, was completely
unforgettable. </span></div>
<br />
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Result: 8/10 </span></h2>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Verdana, sans-serif;"></span>Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com0tag:blogger.com,1999:blog-8676536852642246767.post-83820642099349159902019-01-23T15:39:00.000-08:002019-01-23T15:39:00.428-08:00Welcome to Marwen <br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc5GglIC4tXqSFeTLAusWt7vxDGDHyhPF4BN5ZP0g_49iDk1hIWNzd7v9J-C1r-O5kKNIDuj4Oj6vCSAKt4dzpDrwXSADINykQmNFzCeeWfIepEsv24TD0PwtPPqEt1zPDoGOgy9vNcgrN/s1600/wonderfully-fantastic-new-trailer-and-posters-for-robert-zemeckis-and-steve-carrells-welcome-to-marwen1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" data-original-height="885" data-original-width="1250" height="226" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjc5GglIC4tXqSFeTLAusWt7vxDGDHyhPF4BN5ZP0g_49iDk1hIWNzd7v9J-C1r-O5kKNIDuj4Oj6vCSAKt4dzpDrwXSADINykQmNFzCeeWfIepEsv24TD0PwtPPqEt1zPDoGOgy9vNcgrN/s320/wonderfully-fantastic-new-trailer-and-posters-for-robert-zemeckis-and-steve-carrells-welcome-to-marwen1.jpg" width="320" /></span></a></div>
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<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<h2 style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">"I was a hell of a good artist, and now I can barely write my name. So my dolls have to tell the story."</span></h2>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">For the best part of two decades now, Robert Zemeckis has
been experimenting with new forms of filmmaking in an effort to blend the
possibilities of CGI with the classical storytelling that defined his earlier
works. It’s an admirable approach but one that has yielded few results, with
many of his animated ventures both critically and commercially whilst his live
action efforts failed to capitalise on their potential. With each new film
though I retain some sense of hope that maybe this will be Zemeckis’ return to
form. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">When a violent hate crime leaves Navy veteran Mark Hogancamp’s
(Steve Carell) life utterly devastated, leaving him with serious damage to his
motor functions, severe post-traumatic stress as well as brain damage that results
in him possessing little memory of his own life. Unable to afford therapy, he
starts crafting a miniature and meticulous city and populates it with his own WW2
era adventure fantasies, a project that soon becomes a new outpouring or art
for him. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">‘Welcome to Marwen’ is partially based on a documentary
depicting Hogancamp’s extraordinary life and work named ‘Marwencol’. It’s
actually the second instance of Zemeckis adapting works of documentary film
into narrative dramas, as he took it upon himself to turn the 2008 documentary ‘Man
on Wire’ into a dramatized account via the 2015 film ‘The Walk’. While Zemeckis’
restaging was admirable and featured some impressive set pieces (most notably
the climactic twin towers high wire walk), it still lacked the lyrical beauty
or emotional resonance of the documentary. The same could be said of ‘Welcome
to Marwen’ which seems to display an almost uncanny ability to misjudge its
subject matter and fail to reconcile what made the true story so impactful. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Hogancamp’s artwork and the presentation of it in ‘Marwencol’
was not reduced to a simplistic, uplifting narrative. It was a violent, dark
and sometimes uncomfortable view of someone living a life vicariously through
their staging of their own fantasies, tinged with all the sexuality and
adrenaline as human desires can be. The fact that the scenes were reflections
of Hogancamp’s own life and traumas made it all the more striking. The surface level
fact of these scenes being staged with dolls suggests a quirky or whimsical
tone but in actuality is angry and complex. <span style="margin: 0px;"> </span></span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Taking all of this into account it becomes all the more
baffling that the screenplay for ‘Welcome to Marwen’ tries to approach its
subject in this stagnated tone. As much as the screenplay wants to stress the
importance of Mark’s recovery, it frames his work as an eccentric quirk rather
than the very real means of recovery that it actually was. Even putting the
real story aside though there is such a severe case of cognitive dissonance
throughout the film that it reaches levels that verge on uncomfortable. This
simplistic and melodramatic approach seems to out of synch with the horrendous
violence that instigates these events that they risk undermining the dramatic
tone the movie aspires for. </span></div>
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<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWdWq3deRlQvpGSAWo7e9LuEIznlYvCr7U82-W9xcjsMuCCmdv4qMcMBOoXGZEGE4snLrJQzbgzU-qAv2MXnn2CTfqjeZYJPx8O5W_j5TvvjQnJGDg8j_ET3GXtCgy2FD93TGLkk3imq57/s1600/welcome_to_marwen.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><span style="font-family: Verdana, sans-serif;"><img border="0" data-original-height="464" data-original-width="825" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWdWq3deRlQvpGSAWo7e9LuEIznlYvCr7U82-W9xcjsMuCCmdv4qMcMBOoXGZEGE4snLrJQzbgzU-qAv2MXnn2CTfqjeZYJPx8O5W_j5TvvjQnJGDg8j_ET3GXtCgy2FD93TGLkk3imq57/s400/welcome_to_marwen.jpg" width="400" /></span></a></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">There is a similar level of awkwardness regarding Carell’s
performance. It’s Carell’s sincerity that usually works to further both his
comedic and dramatic roles, but in ‘Welcome to Marwen’ he seems lost as to when
and where to apply that sincerity. I don’t doubt the screenplay hardly made
this task any easier but Carell’s performance does little to suggest someone
grappling with their own trauma as much as it is a drastically sliding scale of
tones. There is no connective tissue between the two versions of Hogancamp he
is portraying, the victim of a violent attack and the eccentric artist taking photographs
of dolls. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">The film’s narrative is split between Mark’s attempts to
navigate the real world and his own stories that play out in his constructed
miniature world. It’s a method that in this case either feels needlessly heavy
handed or frustratingly shallow. In some cases it stresses the fact that Mark’s
dolls reflect people within his own life to such an extent that it actively
impedes the central story, but at the same time it never devotes any
substantial time to those characters in the real world for their Marwen
counterpart to carry meaning. It sacrifices worthwhile drama for over the top
action sequences which do little to further the central themes the film seems
to be aiming for. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Whether those animated sequences even work at all on their
most basic functionality is also up for dispute as they venture deep into the
uncanny valley effect. Though this is a highly subjective topic, it seems to me
personally that the CGI does not possess the fluidity or dexterity needed to
appear natural. In fact realism does not even need to be the goal, a simple
sense of consistency to the way the figures moved would be convincing enough.
However as I stared at Steve Carell’s face composited onto a stilted CGI
figurine I couldn’t help but fail to be immersed within the story of Marwen.
When all is said and done though, any issues I had with the animation was
simply the tip of the iceberg for an unbalanced and poorly conceived approach to
this story. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">‘Welcome to Marwen’ is a tonally unbalanced and emotionally
empty experience that waters down its subject whilst adding needless, self-indulgent
flourishes. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Verdana, sans-serif;"></span><br /></b></div>
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Result: 2/10</span></h2>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Verdana, sans-serif;"></span>Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com0tag:blogger.com,1999:blog-8676536852642246767.post-83133995688742470882019-01-16T18:06:00.000-08:002019-01-16T18:06:22.638-08:00The Favourite <br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSVEwNN3Aq98c7JhMxjzPnQLK3XCoVZIEoM0Cw6U-PJGhHD1JwwK8kHik4myOXr1EJcnsZ6R93-RR09mnROKgzV6pRhBVD5CSQjJOfVPdLsdnsl3GPYmQIeX0OKpkYHbA9S-x2qPzZO4g6/s1600/Favourite_poster_jan19_788_292.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="292" data-original-width="788" height="146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhSVEwNN3Aq98c7JhMxjzPnQLK3XCoVZIEoM0Cw6U-PJGhHD1JwwK8kHik4myOXr1EJcnsZ6R93-RR09mnROKgzV6pRhBVD5CSQjJOfVPdLsdnsl3GPYmQIeX0OKpkYHbA9S-x2qPzZO4g6/s400/Favourite_poster_jan19_788_292.jpg" width="400" /></a><span style="font-family: Verdana, sans-serif;"><br /></span></div>
<div>
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<h2 style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">"Favour is a breeze that shifts direction all the time."</span></h2>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">It is easy to simply dismiss the work of Yorgos Lanthimos as
being inherently perverse and strange, but beneath all of the eccentricities
within his films lies a profound statement both on the absurdity of the individual
as well as the madness of the dynamic around them. Whether it is the lives of
the children in ‘Dogtooth’, the lovers plight in ‘The Lobster’ or the sadistic
plan for revenge in ‘The Killing of a Sacred Deer’, you can marvel at the
oddities of the characters themselves but would be remised if you didn’t ask
whether they are the product of the environment they inhabit. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">In early 18th century England, a frail Queen Anne (Olivia
Coleman) occupies the throne. Her close friend, Lady Sarah (Rachel Weisz),
governs the country in her stead, while tending to Anne's ill health and
mercurial temper. When a new servant, Abigail (Emma Stone), arrives seeking
work, she slowly starts to build up empathy with the aristocracy surrounding
her and grows closer to the queen as vicious rivalries begin to emerge. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">On the surface this seemingly eloquent period piece with a
screenplay which he had no part in writing would seem like somewhat of a far
cry from Lanthimos’ other projects, dare I say one that seems more
strategically suited to awards favour than anything else. However any fears I
had that this would conform to convention were quickly dissipated as I realised
that the world of ‘The Favourite’ is one of exploitable systems of power
alongside ruthless individuals willing to undertake any means necessary to
survive within that system. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Like all of Lanthimos’ previous efforts there is a delicate
balance of tone on display here. ‘The Favourite’ seems constantly caught on a
razors edge between the most absurd comedy and the darkest drama. What you may
laugh at on the first viewing could later reveal itself to be a striking
statement on the films depraved systems of power and the even more depraved
humans that occupy it. In fact that might summarise the overall effect of the
film, aspects that seem inherently absurd are treated as such, but the script
refuses to overlook the very real and troubling emotional fallout each one of
these oddities leaves in its wake. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">A criticism I sometimes see being levelled against Lanthimos’
work is that his high minded concepts and absurdity leaves little room for
genuine humanity, a criticism which I can sympathise with even if I personally
disagree. However ‘The Favourite’ displays a shocking amount of empathy for its
characters. Beneath all of their eccentricities and brutal rivalries, with each
one we see a motivation that is surprisingly relatable. <span style="margin: 0px;"> </span>From Anne’s insecurities over whether or not
her friends or allies truly love her or are just exploiting her position of
power, to Sarah’s staunch and steadfast belief that her advice and guidance to
Anne will yield the best results for the country as a whole, as well as Abigail’s
need to feel secure and assured in her status rather than constantly fighting
for survival. You can distinctly see the deeply human flaws and drives in each
of these characters. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">These three strong female leads are further complemented by
the strength of the performances portraying them. Olivia Colman, Rachel Weisz
and Emma Stone are all truly magnificent in the film, each one turning in what
could be called a career best performance. Each of them conveys such a distinct
first impression that it becomes all the more amazing when they so brilliantly
subvert that impression and use it as a means to convey a deeply affecting character
arc. Colman resists the urge to reduce Anne to a caricature and instead paints
a portrait of a vulnerable and intensely insecure woman whose main desire is to
feel loved and respected by those around her. Stone and Weisz duel for Anne’s
affections in a game of wits and strategy that is made all the more engaging by
the layers each actor brings to their role, gripping the viewer in something as
inconsequential as their turn of a phrase. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCtynQjxtU8JdRx9zrW6Rq6prdn3OjhBRkNX4s22HUJN2gsMyrL9Wlx32_Q8CXe_HEdqcYLKquuSVasN4XSJy_VvEAFQKPEKDVS0vHVJwxJusgUSc4Do6U8ABH42qqg5YBKM61GwPgeoIg/s1600/untitled.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCtynQjxtU8JdRx9zrW6Rq6prdn3OjhBRkNX4s22HUJN2gsMyrL9Wlx32_Q8CXe_HEdqcYLKquuSVasN4XSJy_VvEAFQKPEKDVS0vHVJwxJusgUSc4Do6U8ABH42qqg5YBKM61GwPgeoIg/s400/untitled.png" width="400" /></a></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">But ‘The Favourite’ is by no means just a showcase for the
actors themselves. Lanthimos may not be working with material that is as
overtly outlandish as he has in the past, however he has lost none of the
visual dynamism or striking frames that shone in his other directorial outings.
The film is littered with wide angles designed to isolate the characters within
the settings and alienate the viewer in accustoming them to this unforgiving
world around them. In contrast to these wide shots however are an array of
uncomfortable close ups that are unafraid to capture the characters at their
lowest and ugliest moments. If ‘The Favourite’ holds a sense of humour that
most period dramas do not, it also contains a greater sense pf pain and anguish
that most do as well. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Despite going against the grain of most period dramas
however, ‘The Favourite’ does not sell itself short in terms of aesthetically
representing the era. The costume design by Sandy Powell is beyond exquisite,
often conveying elements of story and character entirely on its own. The
gorgeous set design and lighting is something to behold as well, particularly when
framed by Lanthimos and his director of photography Robbie Ryan. <span style="margin: 0px;"> </span></span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">With so much of the film’s world built on lavish aesthetics
designed to mask the flaws of humanity, it becomes all the more striking to see
those weaknesses put on full display through the writing, performances and
direction which are keen to highlight every single one of them. At its core
this is a film of desperate people each striving to achieve their own desires,
with each of them using the power structure around them to their full advantage.
It’s a brutal war of words, with the dialogue between the characters often
being the thing which inflicts the most pain. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">That being said, some of the most haunting moments of the
film are also some of the quietest. In particular the final few moments are a
truly evocative series of revelations regarding how these characters really
stand when all is said and done. You may find yourself unsure of who to side
with throughout ‘The Favourite’ but its final shot is a heart breaking
realisation for all involved that their ultimate choice was likely the wrong
one. <span style="margin: 0px;"> </span></span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">A thrilling duel for power between three acutely drawn and deeply
sympathetic women, shot with a visual tour de force by Lanthimos, ‘The
Favourite’ is an eccentric masterwork. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Verdana, sans-serif;"></span><br /></b></div>
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Result: 10/10</span></h2>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Verdana, sans-serif;"></span>Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com0tag:blogger.com,1999:blog-8676536852642246767.post-62856142659773479352019-01-10T17:46:00.000-08:002019-01-10T17:46:17.250-08:00Green Book<span style="font-family: Verdana, sans-serif;"><br /></span>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFjkPtB7BG6xlJSWXU_NR9Yp-h7e-v8CHzQdgfrJxgxUoB8n4BSPB34a9nZnLU88VrTgb3Z_2DHOG_NN5VwXv938_rlAE53k4NiDVDmr-mFIZmCuXr3PYITqdvGLY6QWv-7AquTXWpKX0J/s1600/Green_Book_Home.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="413" data-original-width="716" height="230" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFjkPtB7BG6xlJSWXU_NR9Yp-h7e-v8CHzQdgfrJxgxUoB8n4BSPB34a9nZnLU88VrTgb3Z_2DHOG_NN5VwXv938_rlAE53k4NiDVDmr-mFIZmCuXr3PYITqdvGLY6QWv-7AquTXWpKX0J/s400/Green_Book_Home.png" width="400" /></a></div>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-family: Verdana, sans-serif;"><br /></span></h2>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-family: Verdana, sans-serif;">"So if I'm not black enough and if I'm not white enough, then tell me who am I?"</span></h2>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Peter Farrelly’s latest movie does have the connection to
his best known work in the sense that they are both road movies. One would
think that is where the similarity between ‘Green Book’ and ‘Dumb and Dumber’
ends however there is a narrative catharsis plots involving lengthy road trips
and stories of self-discovery, so as absurd as it sounds perhaps Farrelly could
benefit from adopting the storytelling methods that endeared us to the likes of
Harry and Lloyd, only in this case with a context that allows for far more
gravitas. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Dr Don Shirley (Mahershala Ali) is a world-class
African-American pianist, who is about to embark on a concert tour in the Deep
South in 1962. In need of a driver and protection, Shirley recruits Tony Lip
(Viggo Mortensen), a tough-talking bouncer from an Italian-American
neighbourhood in the Bronx. Despite their differences, the two men soon develop
an unexpected bond while confronting racism and danger in an era of
segregation.</span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">At the time of this review it is difficult to review ‘Green
Book’ outside of the controversy surrounding the film. From Shirley’s family
denouncing it as a work of fiction to what many have viewed as an undeserving
awards sweep as well as screenwriter Nick Vallelonga’s, let’s call them,
unfortunate comments. It is a shame that such controversy has shadowed a film
that I should otherwise be achingly excited for. You would be hard pressed to
find two more exciting and committed actors nowadays than Mahershala Ali and
Viggo Mortensen and the notion of seeing them on screen together is a
tantalising one. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">It is safe to say that the chemistry of Ali and Mortensen
essentially carries ‘Green Book’ and is far and away the strongest element of
the film. They each fully immerse themselves within their respective characters
and completely disappear into the roles. Each of them have a unique talent of unfolding
the layers of their characters at a gradual rate, slowly easing the audience
into their personas so as to make each character revelation feel both
surprising and fulfilling. It’s this common approach that allows them to bounce
off each other with a brilliantly dynamic sense of energy. In a film where the
emotional beats of each scene so often lies on the little interactions between
Shirley and Tony, the two actors portraying them never fail to convey the
importance of those moments. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Outside of the wider socio-political context that makes
certain elements of ‘Green Book’ more problematic (more on that later),
structurally the movie flows at a respectable pace. Farrelly does indeed know
how to employ a lighter touch that makes his road movies feel well paced.
Heavier scenes that literally announce the movie’s intent are spread evenly
throughout so as not to weight down any one particular act, while still
building towards and emotionally fulfilling climax that is appropriately
uplifting and undoubtedly affecting. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCr3oBDwM_1Iahh_uqOko6-nuZTG07lTf0sZr7TEXGmHqaF17bksTSkoN0glW3-630x99hMmaNLQm7SjOjoiZNpJph2trbLeDjwGB2UI8HtUIhz1k9QlX7BUsKOAswE4rfSztHIv8B_4kh/s1600/8u02_ttp_00025cr.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="1000" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhCr3oBDwM_1Iahh_uqOko6-nuZTG07lTf0sZr7TEXGmHqaF17bksTSkoN0glW3-630x99hMmaNLQm7SjOjoiZNpJph2trbLeDjwGB2UI8HtUIhz1k9QlX7BUsKOAswE4rfSztHIv8B_4kh/s400/8u02_ttp_00025cr.jpg" width="400" /></a></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">However, it’s when ‘Green Book’ states its thematic conceit
that it becomes decidedly more problematic. Part of the main narrative within
the film is to draw a comparison between Shirley and Tony, both in terms of
their own understanding of one another as well as the prejudice they are both
subjected to. At this point you might begin to see an issue. I will not pretend
that classicism is not a prevalent issue and undoubtedly impacts many people.
But within the context of when ‘Green Book’ is set, to make a comparison
between it and the systemic racism experienced by black people living in
America is hardly what I would call apt. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">While Tony within the film is shown to deal with prejudices
regarding his mannerisms and conduct which to him are nothing more than a by-product
of his upbringing, even within the context of the movie these pale in contrast
to the issues Shirley faces to which they are compared. Perhaps ‘Green Book’
could benefit by remembering the significance of the very thing it is named
after. Tony is subjected to sneering while he travels the country, whereas
Shirley need a travel guide instructing him on how to find accommodation that doesn’t
come with the risk of being subjected to harassment and violence. As well-meaning
as this concept of unity between the two is, their circumstance within this era
are very much not comparable. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">‘Green Book’ could
have avoided this if it were to employ a narrow focus on these two men and how
they overcome their initial impressions of one another, and to a certain extent
it does with the result being the film at its best. But it repeatedly aims to address
broader topics and in doing so exposes how naïve and simplistic its conceit
actually is. The film only makes these flaws more apparent when it makes a
comment on Shirley’s own educated background serving as a barrier between him
and the black populace. Of all the ways to make a comment on the state of race
relations in the 1960s, the story of a white working class guy teaching a black
musician to reconnect with his own culture is not the way to convey that. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">‘Green Book’ is uplifting enough but risks oversimplifying
its historical setting in favour of a more easily accessible narrative. <span style="margin: 0px;"> </span></span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Verdana, sans-serif;"></span><br /></b></div>
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Verdana, sans-serif;">Result: 5/10</span></b></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Verdana, sans-serif;"></span>Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com0tag:blogger.com,1999:blog-8676536852642246767.post-15212810170104443732019-01-10T16:33:00.000-08:002019-01-10T16:33:28.151-08:00Mary Poppins Returns
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgumt-b7JbAYK0f0Flb52EX-jVuOMgxh7Bo9_f6NVKKVpMqOQRzJ1ZLNZao-RYocGHzOdS8IjxTRRtbo-W4hvdNy9YivCJD81sKrIfm67X56u649OuaPTWcILmsNN2iLwpFjykD5cN2fc-Q/s1600/mary-poppins-returns-poster-emily-blunt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgumt-b7JbAYK0f0Flb52EX-jVuOMgxh7Bo9_f6NVKKVpMqOQRzJ1ZLNZao-RYocGHzOdS8IjxTRRtbo-W4hvdNy9YivCJD81sKrIfm67X56u649OuaPTWcILmsNN2iLwpFjykD5cN2fc-Q/s400/mary-poppins-returns-poster-emily-blunt.jpg" width="400" /></a></div>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-family: Verdana, sans-serif;"><br /></span></h2>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-family: Verdana, sans-serif;">"Nothing's gone forever, only out of place."</span></h2>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">For the past few years we’ve become gradually more used to
the concept of a legacy oriented sequel. A film being revived decades after its
predecessors release and finding popularity in the collective status that
property has built up over years to accumulate legions of devoted fans, which
makes them all the more inviting as well as all the more terrifying.
Potentially a huge market to tap into and entertain, but also a huge base to
risk disappointing. When it comes to Disney, this particular revival concerns
one of their most widely loved and enduringly popular properties of all. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Now an adult with three children, bank teller Michael Banks
(Ben Wishaw) learns that his house will be repossessed in five days unless he
can pay back a loan. Just when all seems lost Michael and his sister Jane
(Emily Mortimer) find a familiar face from their past revisiting them, their
supposedly magical and unorthodox nanny named Mary Poppins (Emily Blunt). </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">In some ways you could think of ‘Mary Poppins Returns’ as
Disney just broadening their horizons, using the same tactics that have served
them well in capturing the nostalgic affection of those who grew up watching
their animated features of the early 1990s to now reach those who have
childhood memories attached to ‘Mary Poppins’. So with 54 years’ worth of
collective childhoods behind it there is a lot of weight already behind this
sequel. A film that shares a lot of the strengths of its predecessor as well as
its weaknesses. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Much like the character herself, ‘Mary Poppins’ is in the
unique position of feeling both ageless and completely of its time. It succumbs
to many of the conventions of a classical Hollywood musical that would
eventually cause the genre to stagnate. It’s musical set pieces function more
as convention than necessity, its direction feels inherently stage-like and its
plot is somewhat meandering to put it lightly. However it’s complete sincerity,
strong thematic through line and more than a few transcendent moments mean it
continues to appeal to children as each new generation passes. Whether Rob
Marshall’s sequel will endure for 54 years itself is yet to be seen (I’ll come
back and edit this when such time has passed) but it goes above and beyond to
try and replicate the magic of the original. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">It comes as no surprise that Disney would recreate the production
design and aesthetics of the original down to the finest detail. But in making
a film designed to be a successor to ‘Mary Poppins’ would call Marshall’s
weaknesses as a filmmaker become his greatest asset. His musicals have a tendency
to feel deliberately staged, as if wanting to immerse the audience in a Broadway
performance. While not inherently lesser, it’s a technique that leaves a lot to
be desired in terms of the unique power film possesses as a medium, so the end
results feel cluttered and awkward. However by adopting this technique once
again Marshall has indeed replicated the visual language of the 1964 film. The
movement of the camera, timing of the edits and framing of the characters work
to create a sequence of images that is unmistakably drawn from the influence of
‘Mary Poppins’. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicld45bGDXgdUJpd2w2D64IA9Dd8emjiAvqsFnlbie4Q1kGviaIN_1IGw-XSTZzXiYb6cYt58Pbq_0-iTrtHLsFIl3q7uVrs86P2eXtTKpfKNKrB7xsXzeYUpmoTRvtQlk5zK9I8VJ1IXX/s1600/mary-poppins-returns1.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="1000" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEicld45bGDXgdUJpd2w2D64IA9Dd8emjiAvqsFnlbie4Q1kGviaIN_1IGw-XSTZzXiYb6cYt58Pbq_0-iTrtHLsFIl3q7uVrs86P2eXtTKpfKNKrB7xsXzeYUpmoTRvtQlk5zK9I8VJ1IXX/s400/mary-poppins-returns1.jpg" width="400" /></a></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Save for a few modern touches such as CGI and colour
correcting, ‘Mary Poppins Returns’ has the palette of a film that could have
been made immediately after the first movie. It helps that the film essentially
recreates the tone and scenario for each and every one of these sequences, from
a beautifully rendered hand drawn animation sequence (which really is astonishing)
to a more tactile and stunt based performance orchestrated by London’s working
class characters. We are treated to gravity switching antics, sombre and
narratively fulfilling number and an uplifting free spirited finale. In fact
more than one of the songs overtly references the soundtrack of the original
either through sampling or directly lifting a few bars from its music and weaving
them into these new numbers. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">All of this means that one could obviously accuse ‘Mary
Poppins Returns’ of being overly derivative of the original, which is a valid
criticism. It makes no effort to re-contextualise or expand upon any element
introduced 54 years ago. However, I would also note that you would struggle to
argue that the filmmakers ever wanted to achieve anything besides that. Their
goal was to recapture the magic that generations have felt when viewing a particular
film, either through its aesthetic or just a specific mood and atmosphere. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Which brings me to Emily Blunt’s performance which will no
doubt be the talking point among most people in terms of how well she
recaptures or reinvents the iconic character Julie Andrews brought to life. In
all honesty it feels restrictive to simply reduce both actors to one doing an
imitation of the other. Blunt’s performance is so fully realised and impeccable
from the smallest of mannerisms to the broadest emotional beats. In fact it was
in those minute details that her performance reveals just how remarkable it
truly is. It’s obvious just from the bare aesthetics that Blunt has assumed the
role excellently, but when the camera truly observes her as she works her magic
and we as an audience are left to marvel at the nuances of her expressions and
the flourishes in her movements, you simply see her as that character and nothing
else. One could almost say her performance is (wait for it) practically perfect
in every way. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">‘Mary Poppins Returns’ is a charming and faithful tribute to
what so many continue to adore about its predecessor, even a little too much
for its own good at times. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Verdana, sans-serif;"></span><br /></b></div>
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Verdana, sans-serif;">Result: 7/10</span></b></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Verdana, sans-serif;"></span>Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com0tag:blogger.com,1999:blog-8676536852642246767.post-16126658073529584432018-12-29T11:21:00.000-08:002018-12-29T11:21:20.959-08:00Roma<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizmgbCmMsI9dEUOzETYaXAOUb4NLqFAo0ivpjBZw9-a4x3JWPrURf2tY0-1Hs0fgcn0lPQVLXVAikbICNViz7Jqy_9m8xDRHkr5bhyphenhyphengSso86k4-IJvbSsj-n8gn770Hl90WRlgDDBnFL-Y/s1600/CuaronRoma-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="675" data-original-width="1200" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEizmgbCmMsI9dEUOzETYaXAOUb4NLqFAo0ivpjBZw9-a4x3JWPrURf2tY0-1Hs0fgcn0lPQVLXVAikbICNViz7Jqy_9m8xDRHkr5bhyphenhyphengSso86k4-IJvbSsj-n8gn770Hl90WRlgDDBnFL-Y/s400/CuaronRoma-1.jpg" width="400" /></a></div>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-size: small;"></span><span style="font-family: "verdana" , sans-serif;"><br /></span></h2>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-family: "verdana" , sans-serif;">"We are alone. No matter what they tell you, we women are always alone."</span></h2>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: "verdana" , sans-serif;"></span><b></b><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: "verdana" , sans-serif;">One of the unique ways in which movies excel as an art form
is their ability to transport us to new planes of existence. We can bear
witness to new environments and witness people completely alien to ourselves
experiencing their own unique lives. On both the small and large scale, we are
given windows into different worlds that shed light on areas we were once
completely unaware of, and work as empathy machines to place us within the
emotional state of another human being. All of this, brings me to ‘Roma’. </span></div>
<br />
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<span style="font-family: "verdana" , sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: "verdana" , sans-serif;">In the early 1970s, Cleo (Yalitza Aparicio) works as a
live-in housekeeper to an upper class family. As she lies on the fringes of the
family’s drama but slowly becomes enveloped in it over the course of a year,
she herself has to reckon with her own personal issues as her life outside of
work becomes decidedly more complex. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: "verdana" , sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: "verdana" , sans-serif;">The movies of Alfonso Cuaron are not defined by their basic
premises. In 2001 he made ‘Y Tu Mama Tabien’, a road movie about sex-crazed
teenagers which became a profound statement concerning generational dysphoria
and the larger cultural changes enveloping their country. Then in 2006 he made
another masterwork named ‘Children of Men’ a dystopian science fiction tale
that transcended its own premise to comment on the broader nature of the human
spirit, from its ugliest side to its most innocent. These are broad and
thematically rich stories framed around the intimacy of a few people and their
unique struggles. It is exactly the same storytelling philosophy that drives ‘Roma’.
</span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: "verdana" , sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: "verdana" , sans-serif;">The very first shot of the film lingers on a water slowly
flowing down a stone driveway as it is cleaned, in the reflection of that water
we see a distant plane in the sky as it flies silently overhead. Details like
this mean that as a viewer you are never unaware of the wider world around the
characters at the centre of ‘Roma’. At the same time however, you feel so
intimately familiar with these characters that you feel every iota of their own
drama as it unfolds. It is an intensely personal story set against the backdrop
of a larger one. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: "verdana" , sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: "verdana" , sans-serif;">You can see this in Cuaron’s visual style. Having shot the
movie himself in black and white, there is something surreally distant yet
beautifully familiar about the colour palette of the movie. Just as the
starkness of the black and white make certain scenes feel all the more emotionally
raw, the lower contrast utilised in other significant moments bestows the film
with a certain warmth. The sheer variety of environments within ‘Roma’ also
gives Cuaron a multiplicity of settings to shoot in unique tones and contrasts.
</span></div>
<br />
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<span style="font-family: "verdana" , sans-serif;"></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQkD3HgHrkMBKr0c_mO1qXSXl9S8PTfYMgC3uwdlLW57MsHwc5YCV5xS5JolnXf0nzBysUT14XkBeVAXIqvNjaEft2CDBBWKvMjPEqG4cfrDGbwXoA6YEIWWVOFTUulOPDW7bzYu5k_Xaq/s1600/maxresdefault.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="720" data-original-width="1280" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQkD3HgHrkMBKr0c_mO1qXSXl9S8PTfYMgC3uwdlLW57MsHwc5YCV5xS5JolnXf0nzBysUT14XkBeVAXIqvNjaEft2CDBBWKvMjPEqG4cfrDGbwXoA6YEIWWVOFTUulOPDW7bzYu5k_Xaq/s400/maxresdefault.jpg" width="400" /></a></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: "verdana" , sans-serif;">However, this array of landscapes never feels jarring
because of the consistent visual language underpinning the entire production.
If ‘Roma’ is concerned with the micro within the macro on a narrative level, it
is following the same ideology on a visual spectrum as well. Cuaron rarely uses
close ups, intently framing the characters against the wider world which they
inhabit. So many shots begin at a medium angle only to pull out and reveal a
vast expanse of people, objects, and landscapes.</span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: "verdana" , sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: "verdana" , sans-serif;">It is this aspect of ‘Roma’ which distinguishes it as a
technical marvel. Had Cuaron played too freely with this technique his tableaus
would have risked looking cluttered or chaotic. But he succeeds in finding
clarity within them time and time again. Just orchestrating such a scene is a
feat in itself, but to never lose sight of the scene’s focus, to choreograph
the most gigantic of set pieces whilst drawing the viewers’ attention directly
to a single point of focus, is an astonishing achievement. It’s one that would
be the highlight of any film it appeared once in, yet Cuaron makes this his
consistent visual style.</span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: "verdana" , sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: "verdana" , sans-serif;">This integration of empathy and scope is what allows ‘Roma’
to be such an immersive experience. Its imagery is so striking and executed on
such a large scale that it can rightfully be called poetic, but it’s a kind of
poetry that is unafraid of revelling in the details of its surroundings. Perhaps
the great unifier of Cuaron’s personal and technical vision his is affinity for
details, for small nuances both in the background of his scenes and the
forefront as his characters grapple with the subtleties of their own
experiences. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: "verdana" , sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: "verdana" , sans-serif;">Another important aspect of the hypnotic immersion that ‘Roma’
evokes is the complete commitment from its cast. I hesitate to even refer to refer
to them as performances because I was so utterly transfixed by the people on
screen to a point where I never even thought of them as actors. There was not a
second for which I did not believe in the characters as they were presented. I
no longer saw them as recreations of people on screen, they were simply people.
They were fully formed individuals whose lives I was watching unfold with as
much conviction in their existence as I would for any semblance of reality. As
the film climaxes in a series of emotionally fraught scenes I distance myself
from the depicted events or draw a distinction between this narrative and the
film as a constructed entity. The result was a deeply affecting and achingly
personal story from which I had no escape. </span></div>
<br />
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<span style="font-family: "verdana" , sans-serif;"></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaQQamjS15l0OeGjSdt8cJaV2h2oxBYC6E9cY07tq9kD-UaxZ4n0kbxurx65u53re5THFQBT5ab33nZkfi4svnL-aSeSjTNg7Lrc-SpssjORG1X4B2dOU6fxL3fXvjNuyHFbTvLJ9T4UjG/s1600/30-roma.w1200.h630.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" data-original-height="630" data-original-width="1200" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgaQQamjS15l0OeGjSdt8cJaV2h2oxBYC6E9cY07tq9kD-UaxZ4n0kbxurx65u53re5THFQBT5ab33nZkfi4svnL-aSeSjTNg7Lrc-SpssjORG1X4B2dOU6fxL3fXvjNuyHFbTvLJ9T4UjG/s400/30-roma.w1200.h630.jpg" width="400" /></a></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: "verdana" , sans-serif;">Cuaron has stated that ‘Roma’ is a tribute to the women who
raised him, and that personal angle is easy to distinguish from the first frame
to the last. Not merely in the care with which he crafts each aspect of the
movie, but also in its very structure and essence. It unfolds like a memory, but
not in a vague or meandering sense. Every scene is carefully constructed and
deliberately placed, however the flow from one scene to another refuses to be
defined by time or location. It recounts the emotional weight of the
experiences these characters undertake, and showcases them with the utmost
empathy for what is transpiring. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: "verdana" , sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: "verdana" , sans-serif;">Ultimately it is difficult to summarise ‘Roma’ through
words. The culminated experience of watching the film is such a powerful one
that it really must be seen to be believed. It’s a film that makes you forget
your own notions of art being a constructed entity. You find yourself
completely immersed within the portrait Cuaron has presented, and feel the
impact of every narrative turn and character moment as they are displayed
before you. It is rare for ambition of this scale and intimacy of this profundity
to be reconciled, but that is exactly what ‘Roma’ achieves and it is
magnificent to behold. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: "verdana" , sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: "verdana" , sans-serif;">A technical masterwork where the audacity of its spectacle is
equalled only by the deeply personal atmosphere felt for every second, ‘Roma’
is Cuaron’s magnum opus. </span></div>
<br />
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: "verdana" , sans-serif;"></span></h2>
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: "verdana" , sans-serif;">Result: 10/10</span></h2>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: "verdana" , sans-serif;"></span>Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com0tag:blogger.com,1999:blog-8676536852642246767.post-48203368104827645022018-12-27T18:42:00.000-08:002018-12-27T18:42:25.989-08:00Spider-Man: Into the Spider-Verse
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSgE7t6KOJs1IFVvj1_6Y3hQsEqARNb27ayIQokT9NDVCp4LjpowhpDi86vxgj6tPGyp_r30JH0se__FPDc30Uuv-3X2RzcgrHaTw5yXV3XLry_DzfnoR_lj8bV2o1TUJR-GI8cQKZjzzx/s1600/miles+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="630" data-original-width="1200" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSgE7t6KOJs1IFVvj1_6Y3hQsEqARNb27ayIQokT9NDVCp4LjpowhpDi86vxgj6tPGyp_r30JH0se__FPDc30Uuv-3X2RzcgrHaTw5yXV3XLry_DzfnoR_lj8bV2o1TUJR-GI8cQKZjzzx/s400/miles+.jpg" width="400" /></a></div>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-size: small;"></span><span style="font-family: Verdana, sans-serif;"><br /></span></h2>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-family: Verdana, sans-serif;">"What makes you different, is what makes you Spider-Man."</span></h2>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><b></b><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Within the 21<sup>st</sup> century we have seen an abundance
of Spider-Man. The big screen alone has seen three different incarnations of Marvel’s
famed web head in less than two decades, and that is before we even delve into
the TV series, video games and single musical (yeah, that was a thing that
happened). But almost all of these iterations return to Peter Parker’s tenure
as the wall crawler, which is interesting considering that wide array of
figures who have donned the identity in the various comics over the years. That
is just way in which ‘Spider-Man: Into the Spider-Verse’ distinguishes itself. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Bitten by a radioactive spider in the subway, Brooklyn
teenager Miles Morales suddenly develops mysterious powers that transform him
into the one and only Spider-Man. Except he soon discovers that far from being
the one and only, Miles exists among an array of people who share his unique
abilities, and when an interdimensional collision brings them all together,
they must unite to stop a madman and save the city, as well as themselves. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">I don’t think I’ve ever encountered a movie that is so
adoringly in love with its own medium as much as ‘Spider-Man: Into the
Spider-Verse’. This movie is a love letter to the comics on which it is based
and the history of animation that has come before it. But most of all it adulates
Spider-Man, not just as a character but as a universal concept that explains
why the creation has blend such an enduring impact. It is fitting that this is
the first film based on the imagination of Stan Lee to be released after the
iconic storyteller’s passing. It embodies the core ideas and resonant themes
that Lee, Steve Ditko and a generations of writers who succeeded them have
bestowed onto Spider-Man. It celebrates his presence within our social consciousness
as both an individual and an idea. On the big screen Spider-Man has never been
more varied, nor more singularly distilled. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">It stands a testament to the thematic weight of ‘Into the
Spider-Verse’ that I chose to mention its resonance first rather than the
animation. To say that the film looks stunning or is visually stimulating is a
frankly criminal understatement. I am genuinely lost for words at what to
mention first. There’s the simple fact that every solitary frame within this
film looks completely in tune with the visual aesthetics of a comic book. There’s
the gorgeous blending of art styles and animation techniques and how they all
blend seamlessly together. There’s the way these contrasting styles are so
often placed within the same shot and never look at conflict with one another.
There’s the way the film is unafraid to veer into the abstract and psychedelic for
its more otherworldly set pieces whilst still retaining this grounded clarity
to give added weight to its more emotionally nuanced character moments. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">But these are the big visual gestures that anyone could
notice from a surface glance. When you look closer at ‘Into the Spider-Verse’
you will notice more masterful techniques such as how the grained texture that
makes it resemble a printed comic book panel, or the varying frame rates that
emphasise specific actions, or the defined outlines that make each character
feel so distinct, or the subtle uses of colour and shading that just make the
immersion within its vision that little bit more complete. There’s a phrase
within animation called “banging the lamp”, named after a scene in ‘Who Framed
Roger Rabbit’ to describe creative details that are not inherently essential to
the film but exist regardless due to the sheer passion and effort the animators
put into crafting a fully realised vision. ‘Into the Spider-Verse’ is “banging
the lamp” from its very first frame to its last. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">The same care and effort has clearly been put into conveying
the story of the film as well as its technique. The screenplay by Phil Lord and
Rodney Rothman is a masterclass in ambitious storytelling mixed with intimate
settings. Amid the array of characters, no one feels lost or short changed.
While the core development of the story rests with three central characters,
everyone is given a means to contribute to the plot development or thematic arc
of the film in some way. Comedic characters are given beautifully rich moments
of insight, seemingly one note villains are allowed to reveal surprising
amounts of conflict and every secondary character whom Miles encounters along
the way has something meaningful to add to his journey. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRvpnQNp2w0KQBcXG82auOaaPJyFxMuh8r8HCHsOFLsMOT_Xwar2hW2ZfEQJt16CWN0tIUE6kxtttJMY49CL2xSoogcECVrDOhrOdyavSeGMsd51d6aAyuYAxuhhi5lXMsp9ZzcwEwXKJC/s1600/spiderverse_nap175.1011_lm_v2-h_2018_0.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="433" data-original-width="768" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRvpnQNp2w0KQBcXG82auOaaPJyFxMuh8r8HCHsOFLsMOT_Xwar2hW2ZfEQJt16CWN0tIUE6kxtttJMY49CL2xSoogcECVrDOhrOdyavSeGMsd51d6aAyuYAxuhhi5lXMsp9ZzcwEwXKJC/s400/spiderverse_nap175.1011_lm_v2-h_2018_0.jpg" width="400" /></a></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">How ‘Into the Spider-Verse’ effortlessly introduces its
various characters and their conflicts is astounding and does so much to help
the story move forward at a terrific pace. It revels in and explores the
essence of its characters and themes enough to not feel rushed, but never stalls
in terms of moving the plot forward at all times. Structurally, it winds each
escalating set piece together with superb clarity, starting in the grounded and
deeply personal mechanics of Miles home life only to end with a mind-blowing
finale that builds upon the action beats of everything that came before it and
concludes them in a masterstroke of storytelling. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">I have to also shower praise on the voice cast that would honestly
be identical to simply listing the cast as they appeared. Shameik Moore
effortlessly conveys the shifting conflicts and identity struggle of Miles
Moralis throughout the movie. Jake Johnson and Hailee Steinfeld make for uniquely
interesting and brilliantly charismatic versions of the iconic web head.
Mahershala Ali and Brian Tyree Henry work as empathetically grounded mentors in
Miles’ life, whilst Nick Cage, Kimiko Glenn and John Mulaney all bring some
wonderful eccentricity to the array. I would also be remised if I didn’t mention
the menacing villainy Liev Schreiber evokes in his role as Kingpin. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">As I said at the start of this review, what I found most
affecting about ‘Into the Spider-Verse’ was its ability to understand the
universal appeal of Spider-Man, the reason why Stan Lee struck such a profound
nerve with readers when he and Ditko conceived the character. It understands
that anyone can empathise with the figure, with the ideas. It evokes the notion
that a hero can exist within anyone and that beyond the ability to crawl up walls,
what distinguishes a hero are their own personal struggles. If Spider-Man has
ever appealed to anyone on any level, it was because of these core ideas which
the character personified, and there is not a single moment in which ‘Into the
Spider-Verse’ forgets that. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">A towering achievement of animation, emotionally resonant
storytelling and richly drawn characters. Amazing. </span></div>
<br />
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></h2>
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Result: 9/10</span></h2>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Verdana, sans-serif;"></span>Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com0tag:blogger.com,1999:blog-8676536852642246767.post-30148598716342005422018-12-27T17:23:00.003-08:002018-12-27T17:23:58.072-08:00Cold War <br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvGfNaVJdI8nSpS06kH4SeeD7gr0rSl_iMqkqMrikfOxsp3dThy8M4Aosep1RwfsMmo5j4T2LXtGELxLm0oudNOslc39lzt5H5hyphenhyphenQCqFcxWkcijZbDOdHkFgOSaiR6C_4K3TYzOzgFfaxY/s1600/fba5f553af7920138c4e13acbb540546.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="420" data-original-width="640" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvGfNaVJdI8nSpS06kH4SeeD7gr0rSl_iMqkqMrikfOxsp3dThy8M4Aosep1RwfsMmo5j4T2LXtGELxLm0oudNOslc39lzt5H5hyphenhyphenQCqFcxWkcijZbDOdHkFgOSaiR6C_4K3TYzOzgFfaxY/s400/fba5f553af7920138c4e13acbb540546.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<h2 style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">"Don't despair Zula. Whatever will be, will be."</span></h2>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">I don’t want to cast an entire genre in a certain light as
if there is anything inherently bad about it, especially since that is an
abysmal way to go about experiencing movies. But historical romantic epics rarely
interest me on a transcendent level. Again I must stress I do not hold any
internal bias against them, but I do have a certain scepticism to a film
setting a sweeping romance story that will inevitably end either tragically or
sentimentally that ultimately seems to have been placed in a certain historical
setting for purely aesthetic reasons. It’s just me personal taste. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Set against the backdrop of Europe in the 1950s, as the
continent is gripped by the cold war, a musical director named Wiktor Warski
(Tomasz Kot) is set the task of assembling a music troupe to boost the Soviet
regime’s artistic credibility whilst also furthering the propaganda machine.
One of the troupe members is Zuzanna Lichon (Joanna Kulig), a young singer.
Their bond with each other is set to grow and change due to both personal and
highly political reasons. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Perhaps what irks me about historical romantic epics is
their obsessiveness with details, or rather an obsession with the wrong
details. The most lavish attention is given to the most surface level details
when it comes to the setting, and the characters themselves risk feeling just
as decorative as the props. In ‘Cold War’ writer/director Pawel Pawlikowski avoids
that tendency by crafting a film that is light on details and heavy on emotion.
You do not feel the historical setting of ‘Cold War’ through an indulgence of
costumes or architecture, but through the oppressive atmosphere the movie
creates. Every show makes the characters feel small within the frame, mirroring
their own insignificance in the face of this wider global struggle. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">However that is not to say ‘Cold War’ is without its
technical complexities. The framing is constrictive and almost claustrophobic
in how it shrinks the characters, but at the same time every shot has a sense
of depth to it for how Pawlikowski chooses to stage it. He uses reflections and
distortions to experiment with the staging of shots and visually stimulate the
audience through nothing more than a flourish of character placement. There are
single frames within this film that carry more visual complexity than the
entire span of other films from this year. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Just as the imagery of Pawlikowski’s film features a
contradiction of terms in how it is simultaneously sparse on details whilst
being richly complex, so does the narrative. In broad terms the plot concerns
two people falling in and out of love with each other over the course of a decade,
and several details of that story seem to be deliberately omitted. ‘Cold War’
does not present the viewer with a coherent love story that can be traced
through every cognitive action. It instead becomes concerned with the broader
emotional weight of how their relationship develops. One could accuse the film
of being overly distant or frustratingly abstract, but by neglecting the story
beats that would function as dramatic high points in most other movies, ‘Cold
War’ paints a much more striking and intimate portrait. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhceivtf1Dj_IzELghEuJfC6Aox1jkzqlIkhVAIF_Rh6aakl_TXdS4RAw6MQVvJ90QqtMkfRCy3yc_ke7D6-nMh4-RGUinJIlo2S7o3i9pNH6c5CJcnHyGhtg_i3epm4AINsLSxXacTijRw/s1600/coldwar_zimnawojna.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1050" data-original-width="1500" height="280" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhceivtf1Dj_IzELghEuJfC6Aox1jkzqlIkhVAIF_Rh6aakl_TXdS4RAw6MQVvJ90QqtMkfRCy3yc_ke7D6-nMh4-RGUinJIlo2S7o3i9pNH6c5CJcnHyGhtg_i3epm4AINsLSxXacTijRw/s400/coldwar_zimnawojna.jpg" width="400" /></a></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">In many ways the film functions as a memory would. The
specific details of why these people are brought together ultimately become
irrelevant next to the greater emotional weight of their relationship. The
circumstances that bring them together or tear them apart are not worth
conveying as far as Pawlikowski is concerned. What matters are the visceral and
passionate beats felt by the characters when they are together or apart. It
means as an audience member you are acutely aware of the distance between them,
or the intimacy of their unison.</span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">None of this is to say that ‘Cold War’ is not also concerned
with the relevancy of its own social context. One could read the lack of
detailed identities given to the main characters as a statement on the ways
people living under the oppressive regimes of mid-20<sup>th</sup> century
eastern Europe had to hide their own identities. One could comment on the film’s
bleak monochromatic tone and repressive atmosphere. You could even point to the
background observations the film makes regarding the music Wiktor and Zuzanna
changes over time. From traditional communist anthems to the freestyle jazz and
pop music that seeps in, Pawlikowski never misses a chance to evoke an emotional
response through nothing more than a music cue. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">But for a film that uses music so effectively to convey a
story, ‘Cold War’ is just as remarkable for how it uses silence. It is content
to revel in the quiet moments that define this relationship, moments that seem
beyond language. It lets the collective emotional weight of the narrative speak
for itself, trusting its lead actors to convey the details of the characters
emotional state through the subtlest of expressions. <span style="margin: 0px;"> </span></span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">I worry that this review will be little more than a series
of contradictory sentiments. I have praised ‘Cold War’ for being both sweeping
and detailed, intimate yet sparse, simple yet complex. None of this even speaks
to how beautifully structured the movie is so as to allow these seemingly
unconnected scenes to build upon one another, whilst traversing years in such a
way that never leaves the audience lost in where the characters are at in their
relationship. At the risk of adding another contradiction to this review, I was
both surprised and validated to hear that the film was based loosely on Pawlikowski’s
own parents. It is a story that feels as personal as cinema can be, whilst also
remaining utterly ageless. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">With such confident command of his craft, ‘Pawlikowski’s
romantic epic is one whose narration and narrative work in perfect tandem to
tell an intimate and thematically rich story. </span></div>
<br />
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></h2>
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Result: 10/10</span></h2>
<br />
<div style="margin: 0px 0px 10.66px;">
<br /></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Verdana, sans-serif;"></span>Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com0tag:blogger.com,1999:blog-8676536852642246767.post-32268168003914776152018-12-20T18:20:00.000-08:002018-12-20T18:20:21.485-08:00Aquaman
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJrOqJoK4KhEVpeYIKO4T-8gB_8o9P-SQ0jxCdJmQKbH6_sHRj-0M82An9M7_Hc0OMhC3NqZq0SidMTygNGNrQvVzrNpAf8B2P0vI4sYs4VRmWAUthZ3UKILIqetg32EsfbBDI2nzpMGdD/s1600/img-2479259-m.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="301" data-original-width="656" height="182" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiJrOqJoK4KhEVpeYIKO4T-8gB_8o9P-SQ0jxCdJmQKbH6_sHRj-0M82An9M7_Hc0OMhC3NqZq0SidMTygNGNrQvVzrNpAf8B2P0vI4sYs4VRmWAUthZ3UKILIqetg32EsfbBDI2nzpMGdD/s400/img-2479259-m.jpg" width="400" /></a></div>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-size: small;"></span><span style="font-family: Verdana, sans-serif;"><br /></span></h2>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-family: Verdana, sans-serif;">"A war is coming to the surface, and I am bringing the wrath of the seven seas with me."</span></h2>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><b></b><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">I have long gone past the point of simply disliking the DCEU
and am instead intensely fascinated by it as a franchise. In 2017 what many
would have assumed would be an assured success on the form of ‘Justice League’
failed to leave an impression on critics or audiences, both of which were much
more endowed with far less secure property that was ‘Wonder Woman. Since then
they seem to have made a concerted to rely less on contrived franchise branding
and more on simply crafting intriguing standalone stories. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Arthur Curry (Jason Mamoa), half human and half Atlantean,
is the heir to the throne of a legendary technologically advanced civilisation living
deep beneath the ocean. When a conflict within Atlantis becomes desperate, a
warrior by the name of Mera (Amber Herd) journeys to the surface to ask Arthur
for help. Together they must overcome a tyrannical rule that poses a threat not
just to the underwater kingdom, but the entire world. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Without even speaking to the quality of the film itself,
purely on a visual level James Wan’s ‘Aquaman’ immediately establishes itself
as one of the most outstanding films within the superhero genre. There is
something about Wan’s vibrant and energetic tableaus, mixed with the intricate
and detailed composition within every frame that one would expect from a
seasoned horror director, which bestows a fascinating element to his work of
this scale. The same effect can be found in his contributions to the ‘Fast and
Furious’ franchise, a quality which you may not palpably recognise whilst it’s
there but will absolutely notice its absent when gone, as proven by ‘The Fate
of the Furious’ which Wan did not direct. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">If I was judging this film on pure visual spectacle then
this would be a much more uplifting experience. If anything I’m actually
disheartened to say that despite being stunning to behold on a visual level, ‘Aquaman’
is decidedly less capable on a narrative front. That is not for a lack of
effort though, as the film suffers from an overabundance of ideas rather than a
lack of them. The script bombards the viewer with plot elements, action
sequences, thematic arcs, revelations and character moments that it ultimately
sinks under its own weight. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Despite a confident introduction which efficiently and
evocatively sets up Aquaman’s backstory and the ensuing identity struggle that
comes with it, the movie rapidly loses sight of its own focal points as the
narrative ploughs forward. As we are introduced to the dazzling world of
Atlantis the script hurls one chunk of exposition at the audience after another
to a point where it becomes almost exhausting. It’s not merely a case of the
movie relying too heavily on one form of exposition, but rather there is simply
too much plotting for the film to navigate. The story isn’t broken down into
any simple three act structure as much as there is simply the introduction, and
then everything afterwards. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUGaD4-GzQhhvUTLh2Z-7yCtEe1auopR-KsyKmzrhjN3spBYe1rfTDbvnYaXXW16fJNT_HJuHSw4rWo_8kLDvclfOEg53DrK7wY1hVxSQZslAm_FylvxoS94eSbK7hGXdHSquY2-f9VPvH/s1600/WBs-Extended-Aquaman-Trailer-Puts-the-MCU-to-Shame-Says-Mark-Millar.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="404" data-original-width="767" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhUGaD4-GzQhhvUTLh2Z-7yCtEe1auopR-KsyKmzrhjN3spBYe1rfTDbvnYaXXW16fJNT_HJuHSw4rWo_8kLDvclfOEg53DrK7wY1hVxSQZslAm_FylvxoS94eSbK7hGXdHSquY2-f9VPvH/s400/WBs-Extended-Aquaman-Trailer-Puts-the-MCU-to-Shame-Says-Mark-Millar.jpg" width="400" /></a></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">The problem with this method of delivering the plot is that
rather than the story unfolding with a sense of escalation that evolves into a more
urgent flow of events, the movie simply drops the viewer in at the deep end.
But once again I can’t accuse the film of not being invested within its own
lore and themes, but it seems as if it rarely stops to allow the audience to be
as well. However if you are less likely to be endowed with the plot mechanics
there are several emotively strong thematic threads to latch onto that work as
compelling hooks for certain portions of the movie. Even if they are lost amid
the plot they work as intriguing character motivations. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">In essence the characters themselves are the most confident
aspect of ‘Aquaman’. Both the titular character himself and Mera are bestowed
with strong characterisations that inform their actions for the rest of the
film, and serve as far more than mere vehicles for the plot. Though several
elements of ‘Aquaman’ become muddled and incoherent, these two are certainly
not one of them. This also speaks to the strength of Mamoa and Herd’s
performances, which are immensely commanding in terms of how they convey their
charisma throughout each scene as well as nuanced enough to leave room for
emotional development. <span style="margin: 0px;"> </span></span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">As dazzling as James Wan’s action sequences are, they too
eventually become overcrowded in the plethora of concepts and jargon on
display. His work on ‘Furious 7’ often relied on following a single focal point
(a car) in a linear direction. However with ‘Aquaman’ there are simply too many
moving parts within each shot and sequence to keep track of everything, and the
result are scenes which seem devoid of momentary tension or weight. The more
the movie bombards the audience with one action sequence after another, the
more it harms the broader narrative as even the larger stakes of the story
become confused and unfocussed. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">‘Aquaman’ is overflowing with ambition, which is both its
greatest asset and biggest weakness. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Verdana, sans-serif;"></span><br /></b></div>
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Result: 5/10</span></h2>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Verdana, sans-serif;"></span>Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com0tag:blogger.com,1999:blog-8676536852642246767.post-60918106816727750782018-12-20T17:06:00.001-08:002018-12-20T17:06:06.123-08:00Creed 2
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDzplrRD6Sbh_yFDUT7r5If4GEkZRD6vqxfGFE9D44f6B4FzVXFqMM012fGLYX5nx9uFPlNyH4gQupBvfopH2F574B5nU27evng0uuc8TIY2ia7UnLPo78pUiG9Gc6yf2bj2WROfFXruu3/s1600/creed_II.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="683" data-original-width="1024" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDzplrRD6Sbh_yFDUT7r5If4GEkZRD6vqxfGFE9D44f6B4FzVXFqMM012fGLYX5nx9uFPlNyH4gQupBvfopH2F574B5nU27evng0uuc8TIY2ia7UnLPo78pUiG9Gc6yf2bj2WROfFXruu3/s400/creed_II.jpg" width="400" /></a></div>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-size: small;"></span><span style="font-family: Verdana, sans-serif;"><br /></span></h2>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-family: Verdana, sans-serif;">"In the ring you got rules. Outside you got nothing, and life hits you with all these cheap shots."</span></h2>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><b></b><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">There’s a certain conflict in enjoying the latest instalment
of a certain franchise whilst simultaneously hoping it is the last in the
bloodline. Everyone wants a film series to end on a creative high point, to
feel as if it bowed out with a flourish rather than limping off stage (I was
going to use boxing allegories for this but I don’t know enough about sports to
do so). With that in mind part of me felt this way after 2015’s ‘Creed’ as it
felt like a completed cycle for the ‘Rocky’ franchise, as well as the sheer
brilliance of the film itself. Now I have to ask, was that part of me right? </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Against the wishes of trainer Rocky Balboa (Sylvester
Stallone), Adonis Creed (Michael B Jordan) accepts a challenge from the son of
Ivan Drago, the man who killed Adonis father in the ring during a 1985 fight. As
Adonis and Rocky prepare for the bought, they each find themselves grappling
with their own pasts as well as their own personal trials that continue to
follow them every step of the way. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Three years after its release I feel as if we do not always
appreciate just how remarkable ‘Creed’ was. For such a confident and capable
film to emerge from the shadow of a franchise many thought had been put to
rest, helmed by a young director in the form of Ryan Coogler who despite
impressing the indie circuits with ‘Fruitvale Station’ was relatively unproven.
It was a towering achievement of filmmaking that earned comparison to that of
the original ‘Rocky’ of 1976. With Coogler no longer in the director’s chair
for ‘Creed 2’ I was somewhat nervous as I wondered whether anyone could
continue Adonis’ story with the same impactful skill. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">In some ways I was justified in being worried. Steven Caple
Jr, though clearly capable when it comes to directing, lacks the stylistic flourishes
of Coogler which elevated ‘Creed’. I must stress that I’m not demeaning Caple
for what is a very confidently assembled directorial effort, but his shots feel
slightly less evocative than his predecessor, his cutting has less kinetic
energy to it and the punches seem to leave less of a visceral impact. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">I also confess to not being a fan of the aesthetic of ‘Creed
2’, with its murkier palette and lower contrast. Again it is less of a glaring
issue with the film itself but more of a problem when compared to its
predecessor, which stood out from the crowd partly due to Maryse Alberti’s
vibrant yet grounded cinematography. That being said, Caple has several
striking set pieces to work with which he uses to create several striking
compositions. Images like Adonis shadowboxing underwater or the overhead shot
of him running through a vast expanse of desert stand as being some of the most
memorable images of the entire ‘Rocky’ franchise. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Despite not equalling its predecessor, ‘Creed 2’ is by no
means a disservice. Its story is laced with dramatically powerful moments which
land with their intended effect due to the script’s clear affection for its
characters. It’s this affection which allows the narrative to lead these
characters down unexpectedly interesting threads and then explore them to a
worthwhile extent. Rather than feeling like heavy handed melodrama, the events
that transpire in ‘Creed 2’ simply speak to the need to have the characters
develop, whilst progressing in such a way that highlights how strong the
characterisation is from the outset. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNDikCH9YiCxA1ro9fwWbmgaxPV5Pe9Cly0wFw2r8YXlCjizCCLa8vvMhK6l8kmnFWZcRVRzGP-PQluvNvp0CBVuLyQwfUdzE8UC56WFFEJS-xPbFiHgiwFzTC9Ms9Q7JYBltaMOyOdrqz/s1600/creed-1-shirtless-1537981365.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="593" data-original-width="1186" height="200" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjNDikCH9YiCxA1ro9fwWbmgaxPV5Pe9Cly0wFw2r8YXlCjizCCLa8vvMhK6l8kmnFWZcRVRzGP-PQluvNvp0CBVuLyQwfUdzE8UC56WFFEJS-xPbFiHgiwFzTC9Ms9Q7JYBltaMOyOdrqz/s400/creed-1-shirtless-1537981365.png" width="400" /></a></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">In some ways ‘Creed 2’ actually manages to create a more
complex layout than Coogler’s film. Though this sequel feels less refined in
its vision, that could be due to its attempts at creating a more nuanced
palette for the characters. The goals of Adonis, Bianca and Rocky are less
singular in this instalment. They balance the conflicts and tribulations of
their lives as they continue to evolve. Even Ivan Drago,<span style="margin: 0px;"> </span>a character introduced as nothing more than a
cold killing machine, is bestowed some emotional nuance in terms of what
motivates him to act the way he does throughout the movie, as well as a
satisfying resolution to that arc. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">This all gives the actors plenty to work with, which
definitely adds to the films strengths given how fantastic its cast is. Jordan
is unafraid to emphasise the vulnerable aspects of Adonis, and this trait
within his performance serves to make the protagonists journey all the more
compelling. Thompson meanwhile has more emotional weight to carry in this film
due to Bianca having a more immediate impact on the narrative, which she
handles impeccably. Once again the character never feels like an accessory to
Adonis, but a fully-fledged partner. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Stallone doesn’t quite recapture the evocative depth of his
portrayal of Balboa in ‘Creed’ but that is more due to the narrative placing
less emphasis on the character. Here Rocky is more assured of his role as
mentor, while still giving Stallone just enough to make his presence feel
relevant and worthwhile. But Stallone revealed surprising depth in the first
film, it is Dolph Lundgren’s turn to do just that in the sequel. The film uses
Drago’s previous characterisation to its advantage as it takes a closer look at
what was seemingly a monster to reveal the human layers beneath, which Lundgren
garners with surprising empathy. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Despite not reaching the heights of its predecessor, ‘Creed
2’ is still a highly capable and emotionally fulfilling instalment of an iconic
series. </span></div>
<br />
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<span style="font-family: Verdana, sans-serif;"></span><br /></h2>
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Result: 7/10</span></h2>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Verdana, sans-serif;"></span>Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com0tag:blogger.com,1999:blog-8676536852642246767.post-91457659876076573352018-12-08T12:42:00.001-08:002018-12-08T12:42:29.904-08:00The Ballad of Buster Scruggs
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPPmNPxRXufTj9SgrGLsVugolO4zgXfx-R5hrXy3Ahbm78zO1C6852cIYx0A-qC66lDutBz9vC1yhyYD8b5XSWUNKK4qG7DyH3ed5K50VHWrqLfCn8NGn4MJA_1fU6Et0qamSLlbbvdg7X/s1600/scruggs-poster.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="545" height="198" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiPPmNPxRXufTj9SgrGLsVugolO4zgXfx-R5hrXy3Ahbm78zO1C6852cIYx0A-qC66lDutBz9vC1yhyYD8b5XSWUNKK4qG7DyH3ed5K50VHWrqLfCn8NGn4MJA_1fU6Et0qamSLlbbvdg7X/s400/scruggs-poster.png" width="400" /></a></div>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-size: small;"></span><span style="font-family: Verdana, sans-serif;"><br /></span></h2>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-family: Verdana, sans-serif;">"We all love hearing about ourselves. So long as the people in the stories are us, but not us."</span></h2>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><b></b><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Considering that the American Dream is such a pervasive
theme throughout their filmography, it is somewhat surprising that the Coen
Brothers have only made one traditional western prior to 2018, and a remake at
that. Obviously one could argue that films like ‘No Country for Old Men’ or
even ‘Fargo’ display some strong western motifs but in terms of the
quintessential western pastiche, ‘True Grit’ remains their only foray into the
genre. Until now that is, however this being the Coens there is still nothing
traditional about their latest effort. </span></div>
<br />
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<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Telling six tales of life and death in the old west, an
array of characters and incidents are on display within this anthology
collection. From a singing outlaw (Tim Blake Nelson) to a botched bank robber
(James Franco), from an aging impresario (Liam Neeson) to a grizzled prospector
(Tom Waits), from a young woman journeying across the prairie (Zoe Kazan) to a
stagecoach filled with five strangers. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Perhaps my favourite quality of the Coens is the range of
emotions their movies, as well as their career as a whole, are able to
encapsulate. From the tragic to the comic and everything that falls between,
the duo often weave stories of such brutal violence yet bizarre beauty that it
is hard not to stare in awe at their tonal command. ‘The Ballad of Buster
Scruggs’ inherently has more opportunity to reach across this emotional
spectrum, since the stories (despite being linked by time and environment) are
all separate narratives in their own right. Any one of them could have
functioned individually as a short film, but when told in this order they paint
a surreal portrait of exactly how the Coens view the old west and the stories
that came from it. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">‘The Ballad of Buster Scruggs’ features the Coens at their
funniest, but also at their most haunting. The opening tale which gives the
film its name features some of the best and most bizarre physical comedy the directing
duo have delivered in many years. But then the third segment, titled ‘Meal
Ticket’, is one of the most silently harrowing narratives I have seen Joel and
Ethan ever recite. Its implications and imagery have stayed with me long after
it and the film was over. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">In fact one thing I can say as a testament to how strong the
storytelling and command of craft is here that all six stories have at least
one aspect that still lingers in my mind. Though some are certainly stronger
than others they all leave a lasting impression and strike a perfect balance
between the abstract and the realistic. Some are remarkable for that they say
about the human condition and the metaphorical weight they carry, others find
value in the intimate and grounded drama they display.</span></div>
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<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqwJgLwUO7Yl1ZHv0qQNFCxHmuPBBSblEqaX5FqWRs6fmxLEt4RoYC6NVThv0Zm52WyHHh31E3fEchn8g5UZqShDfmTYLQ_Ji8tPA6IcWh6tpIBCK_gIaYXSV2lBPcSsSwB_g00J4xtq_s/s1600/buster.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="1000" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgqwJgLwUO7Yl1ZHv0qQNFCxHmuPBBSblEqaX5FqWRs6fmxLEt4RoYC6NVThv0Zm52WyHHh31E3fEchn8g5UZqShDfmTYLQ_Ji8tPA6IcWh6tpIBCK_gIaYXSV2lBPcSsSwB_g00J4xtq_s/s400/buster.jpg" width="400" /></a></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Another benefit to the Coens crafting an anthology film is
that it allows them to fill an array of parts with gifted character actors. With
what was already a keen talent for assembling terrific ensemble casts, here the
brothers have assembled six separate microcosms, each one of which is cast
perfectly. Going through each one would be too lengthy, so instead I shall just
list the absolute standouts of the group. Zoe Kazan evokes such poignant
empathy through her performance that it’s impossible not to be endeared by the
plight of her character. Tim Blake Nelson is comically brilliant as the titular
Buster Scruggs. Harry Melling gives a haunting performance that is low on
dialogue but high on soliloquies. I was also pleasantly surprised by how
nuanced Tom Waits was in a performance that is essential to how affecting the
segment ‘All Gold Canyon’ is. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">‘The Ballad of Buster Scruggs’ marks the second occasion on
which the Coens are not working with their usual director of photography Roger
Deakins. But before you despair, rest assured that Bruno Delbonnel manages to
create a striking and picturesque palette in his own right. Having coloured ‘Inside
Llewyn David’ so beautifully, it’s gratifying to see him use that same monochromatic
technique applied to six different stories which works wonders to create six
highly distinct atmospheres. The harsh winter of ‘Meal Ticket’ seems worlds
away from the lush green valleys in ‘All Gold Canyon’. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">I can sympathise with those who may find the stories within ‘The
Ballad of Buster Scruggs’ to be too obtuse, over indulgent and lacking in
depth. They are all fairly simplistic on a narrative level (even more so if you
were to break them down on paper), but the way the Coens frame them against the
western backdrop bestows them with a huge sense of weight. The outline around
each story also makes it clear that they are fables, valued for their
simplicity and strong core messages. Perhaps the Coens greatest statement in
this film is to comment upon the very nature of stories themselves. They note
that the ones which last might not endure for their depth or multitudes, but
instead for their most basic themes and empathetic characters. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">An ambitious and sprawling anthology that can be ridiculously
comical whilst also being harrowingly heart breaking, this is a western that is
purely Coen-esque to every degree. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Verdana, sans-serif;"></span><br /></b></div>
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Result: 8/10</span></h2>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Verdana, sans-serif;"></span>Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com0tag:blogger.com,1999:blog-8676536852642246767.post-36832135439795063452018-12-05T18:26:00.002-08:002018-12-05T18:26:55.226-08:00Eighth Grade<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw9Msm5iJ1NqgZi8nSVJR-pHQxRT2ipsBHZcPLU99D_cwTfFRzdkLVRF_P4CpG54v3BF4MWbDIjEwVdZVRDeZt-0dmJfXAAfgy03PIrn2bRMccKcdxxsy3BsvOxGpS3yG7fKXXnSlmqQUy/s1600/bg1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="300" data-original-width="635" height="187" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhw9Msm5iJ1NqgZi8nSVJR-pHQxRT2ipsBHZcPLU99D_cwTfFRzdkLVRF_P4CpG54v3BF4MWbDIjEwVdZVRDeZt-0dmJfXAAfgy03PIrn2bRMccKcdxxsy3BsvOxGpS3yG7fKXXnSlmqQUy/s400/bg1.jpg" width="400" /></a></div>
<h2 style="text-align: center;">
<span style="font-family: Verdana, sans-serif;"><br /></span></h2>
<h2 style="text-align: center;">
<span style="font-family: Verdana, sans-serif;">"Just because things are happening now, doesn't mean they're always gonna happen."</span></h2>
<span style="font-family: Verdana, sans-serif;"></span><br />
<span style="font-family: Verdana, sans-serif;">Coming of age movies appear to be an obvious choice when
making a directorial debut. Recently we have seen the likes of Greta Gerwig and
Jonah Hill making the transition from performing to directing in the form of a
semi-autobiographical coming of age story. Now one can also add Bo Burnham to
that list as he delivers his own story of teenage disenfranchisement, ‘Eighth
Grade’. Despite his protagonist being female, which on its own brings some
interesting and insightful creative choices, Burnham has clearly put his own
story on the big screen here as well. </span><br />
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Thirteen-year-old Kayla (Elsie Fisher) endures the tidal
wave of contemporary suburban adolescence. She remains quiet and disconnected
with her peers in school whilst regularly expressing herself through her
YouTube channel. Now she must make way through the last week of middle school
the end of what has until this point been disastrous eighth-grade year for her.</span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Perhaps the assumption that Burnham sought inspiration from
his own life to make ‘Eighth Grade’ is a surface level and convenient comparison.
To assume that just because Kayla has a YouTube channel and to immediately
connect it with Burnham’s own career beginnings is possibly a knee jerk
reaction. However I think the assumption is rooted within a deeper look at the
film, simply because Burnham portrays introverts and anxiety so acutely that I
have to at least ponder that he could relate to the intense personal
awkwardness felt by Kayla in some shape or form. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Much like the causes of anxiety and awkwardness, I find
myself being unable to pinpoint exactly what creates such a visceral feeling of
that very emotion throughout ‘Eighth Grade’. Maybe it’s his tendency to frame
Kayla as she is seen by others, or to frame others in the manner in which she
sees them, immersing us within her point of view. The way Burnham stages his
scenes also works wonders to create a palpable atmosphere in which we are conscious
of every characters movements and gestures. Before long we too are sucked into
Kayla’s fears of being judged by all those around her. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">But I would be lying if I said a major contributor to this
was not the performance from Elsie Fisher, which is utterly remarkable. The
contrast between and equal conviction with which Fisher portrays the
introverted girl in middle school to the one that offers life advice via her
YouTube channel is staggering and in itself conveys a central theme of the
film. There are no broad gestures in Fisher’s performance. Instead a well-defined
character laced with nuanced and subtleties that feel so brilliantly
constructed to contribute to her character but also completely naturalistic in
how Fisher delivers them. </span></div>
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<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRjuuTlRY5EOafYAR4iiOkw4WpBIYLRY21v_YacVXrSX2UWeqAFe39l1B4ra8BMA6_fUN8AbHTeq2EmyyLYA-wxfIwvY8HsmB7PxFDXPqiM0ALhgQLXCS54gSLHoNIYCUGJEmJv-SSdp8E/s1600/636669230206662414-eighth-grade-EG-SS060118-E-rgb.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="840" data-original-width="1600" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRjuuTlRY5EOafYAR4iiOkw4WpBIYLRY21v_YacVXrSX2UWeqAFe39l1B4ra8BMA6_fUN8AbHTeq2EmyyLYA-wxfIwvY8HsmB7PxFDXPqiM0ALhgQLXCS54gSLHoNIYCUGJEmJv-SSdp8E/s400/636669230206662414-eighth-grade-EG-SS060118-E-rgb.jpg" width="400" /></a></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">‘Eighth Grade’ truly is a study of Kayla that in turn makes
a statement about adolescence in the modern world. None of these statements
feel preachy or overly sentimental though. Instead they are communicated via
background details and small hints in conversations that paint an acute
portrait of the environment kids now have to grow up in. Burnham avoids giving
any easy answers to his audience. Just as one could point to the films portrayal
of social media and the damaging impression it can leave on an individual’s self-confidence,
it’s also used as a means of communication that can enable people to pursue friendships.
</span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">This modernity also bestows the film with a unique feel
compared to other coming of age films. Rather than navigate the conventional school
cliques Kayla has to move through a warzone of social media. It gives her interactions
a level of ambiguity and uncertainty. Whether it’s body image, self-esteem, friendships
or romantic pursuits, ‘Eighth Grade’ is keenly aware of the ways in which
social media has forever changed the way we see each other and ourselves.
However that is never the forefront of the movie, which is always focussed on
Kayla as a character, instead allowing the statements on technology to fester
in the background. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">I was interested to see that many have labelled ‘Eighth
Grade’ as a comedy. Now, I wouldn’t the fact that there are several comedic
moments throughout the film. But I would also say that certain scenes in the
film evoked visceral level of discomfort I’ve experienced in a long time. It’s
not just mere cringe humour, but a deep feeling of awkwardness from being
attached to a character and fearing for their own position. It’s in these
moments (which I will not spoil) that the film offers an insight into gender
dynamics and sexual education that transcend most coming of age fables. Many
films can capture certain moods of adolescence, but few can use those to speak
towards what we may be facing later in life and have to grapple with right now.
I wish the film had discussed this in more detail but to even attempt such a
feat is worthy of high praise. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">A tightly constructed and intimately drawn portrait of
introverted youth that is as evocative as it is insightful, ‘Eighth Grade’ is a
fantastic debut for both its director and lead actor. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Verdana, sans-serif;"></span><br /></b></div>
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Verdana, sans-serif;">Result: 8/10</span></b></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Verdana, sans-serif;"></span>Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com0tag:blogger.com,1999:blog-8676536852642246767.post-79497887928664180852018-12-05T17:21:00.001-08:002018-12-05T17:21:46.440-08:00The Hate U Give
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYZ2JebvhL2b69o4u6DT2xxUR758CUmzq_2NMUduV_UaZjnqP8En9qeePPoR9toB7bSOFXB43pzX7vGPGtygbrBPWH2f7Fs9FQU1lFow6aOeB9QI6XnDke5CURJbcZoeqxomj5myM6zBIy/s1600/the_hate_u_give_-_website_image.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="327" data-original-width="523" height="250" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjYZ2JebvhL2b69o4u6DT2xxUR758CUmzq_2NMUduV_UaZjnqP8En9qeePPoR9toB7bSOFXB43pzX7vGPGtygbrBPWH2f7Fs9FQU1lFow6aOeB9QI6XnDke5CURJbcZoeqxomj5myM6zBIy/s400/the_hate_u_give_-_website_image.png" width="400" /></a></div>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-size: small;"></span><span style="font-family: Verdana, sans-serif;"><br /></span></h2>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-family: Verdana, sans-serif;">"Violence, brutality, it's the same story but with a different name."</span></h2>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><b></b><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">It’s been what one could call a heavily provocative year of
filmmaking to say the least, and in some cases the provocative subjects in
question which these films are dealing with have been long overdue for an
examination. This adaptation of Angie Thomas’ 2017 novel comes in a year where
two other films have also dealt with a similar subject (I would specify but in
doing so I would risk spoiling those films), so despite how desperately an
exploration of that subject is needed the question is what does this
conversation do to stand out?</span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Starr Carter (Amanda Stenberg) is constantly switching
between two worlds; the poor, mostly black neighbourhood where she lives and
the wealthy, mostly white prep school that she attends. The uneasy balance
between these worlds is soon shattered when she witnesses the fatal shooting of
her childhood best friend at the hands of a police officer. Facing pressure
from all sides of the community, Starr must find her voice and decide to stand
up for what's right.</span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Movies have a unique ability to transport viewers to new
places, see the world through a different lens and experience something that they
have always been unfamiliar with. ‘The Hate U Give’ achieved this in its
opening scene, showing me something that I have personally never been
confronted with. The scene involves Maverick Carter, played with empathetic stoicism
by Russell Hornsby, instructs his children on how to interact with police
officers in such a way that will prevent them being arrested or even killed. It’s
such a powerful moment made all the more impactful by the sheer matter of fact
way in which the film delivers it. This scene is not stating an opinion or a
theory, just a tragic regularity in the lives of certain people. </span></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">These family exchanges provide a framework for many of the
conversations and themes within ‘The Hate U Give’. They cover a range of
topics, most notably the barriers and obstacles facing black Americans on a day
to day basis. Once again it is not just the statement within these exchanges
that carries weight but the banality of how they are spoken. These inequalities
come to feel like a depressing status quo and when these conventions are
finally broken it feels all the more monumental. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlHQZ70hdqP72Tsc962WjtpaRsmCXRkFA6XClx-WPfodWK-eNzfMVlLxV2l6gI2PU7RiAmj75idi0BOgRBDCHkfTSTXTJER73JwuL0EgbiPPMjkA0Vi2jasaY_zBSIgLY5YbJcWd-RNhfv/s1600/the-hate-u-give.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1067" data-original-width="1600" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjlHQZ70hdqP72Tsc962WjtpaRsmCXRkFA6XClx-WPfodWK-eNzfMVlLxV2l6gI2PU7RiAmj75idi0BOgRBDCHkfTSTXTJER73JwuL0EgbiPPMjkA0Vi2jasaY_zBSIgLY5YbJcWd-RNhfv/s400/the-hate-u-give.jpg" width="400" /></a></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">That kind of quality rests just as much on the strength of
the performances as it does the nuances of the screenplay. In the role of Starr
Amanda Stenberg shines (I am so sorry) for conveying a sense of conflict and
turmoil throughout the movie. Even before the inciting incident Starr is a
young woman torn between two very different environments, fitting into both but
fearful she actually doesn’t properly belong in either. Stenberg makes these
internalised fears evident from the outset and as events around her spiral out
of control she combines Starr’s external and immediate worries with her pre-existing
ones. But rather than being eternally depressed Stenberg brings out a more
rounded persona for the role. In every respect Starr feels like a teenager who
struggles but also laughs and loves, which only further pushes the theme of
these inequalities affect fully formed human beings on a daily basis. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Structurally the movie does suffer slightly in terms of how
it is weighted. Outside of its powerful opening ‘The Hate U Give’ becomes
slightly too reserved through its second act. Certain conversations, despite
being highly important to the film and its central message, feel somewhat repetitive
and poorly paced. Though there are a multitude of powerful moments the
connective tissue in between is not nearly as engaging or insightful. In fact
the sheer breadth of what film ultimately tries to address risks overshadowing
the central message towards the conclusion of the narrative. At 133 minutes I
started to feel as if I was watching the extended cut of an already excellent
movie. The result, while still very commendable, lacks the tightness to be
truly transcendent. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">However, as I said there are plenty of impactful scenes
which in the moment completely eradicated my worries of pacing and structure. One
could criticise it for lacking subtlety but I would counter than issues such as
this don’t leave much room for subtlety, it’s a message that deserves to be
spoken loudly and clearly. Furthermore I was surprised by the level of visual
nuance director George Tillman Jr was able to deliver. Small visual cues that
reflect Starr’s own conflict of identity such as the warmly lit glow of her own
neighbourhood compared to the more pristine yet colder school halls. Even Starr’s
own face seems to be cast in a different light from one location to another,
looking paler and washed out, externalising her own need to fit in with her predominantly
white classmates. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">‘The Hate U Give’ illuminates a subject that is in dire need
of a powerfully spoken statement, and the movie delivers on that with
confidence and clarity. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Verdana, sans-serif;"></span><br /></b></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"><b style="mso-bidi-font-weight: normal;">Result: 7/10</b> </span></div>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Verdana, sans-serif;"></span>Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com0tag:blogger.com,1999:blog-8676536852642246767.post-42238699882760686352018-12-03T11:24:00.001-08:002018-12-03T11:24:50.463-08:00The Girl in the Spider's Web
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPSvAsYFOriPNPA3rFcJl_vMW9c4NPoCWFdNy6g0OCZi52CqhyfkAKuZChtLPPMIYGJYnFCT9teHF8IxP3VuU49hCbUtgeQRXphPtC97SIzz6vdqJiBcq8Kd1nw5QfSr4aYQW-tEZTl6XO/s1600/fid18655.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="377" data-original-width="500" height="241" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhPSvAsYFOriPNPA3rFcJl_vMW9c4NPoCWFdNy6g0OCZi52CqhyfkAKuZChtLPPMIYGJYnFCT9teHF8IxP3VuU49hCbUtgeQRXphPtC97SIzz6vdqJiBcq8Kd1nw5QfSr4aYQW-tEZTl6XO/s320/fid18655.jpg" width="320" /></a></div>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-family: Verdana, sans-serif;"><br /></span></h2>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-family: Verdana, sans-serif;">"I could never figure it out, why did you help everyone but me?"</span></h2>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">It is a great shame that the planned sequels to David
Fincher’s ‘The Girl with the Dragon Tattoo’ never came to fruition. I
understand that Fincher’s meticulous filmmaking style may not mesh with studio
mandated release schedules for a profitable franchise, but as someone who’s in
the minority of thinking that Fincher’s 2011 remake is superior to the original
Swedish version it is disappointing to think that we were denied a potentially
great franchise. Anyway, here’s this other thing which isn’t a continuation but
also isn’t a remake either. So yeah. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Fired from the National Security Agency, Frans Balder
recruits hacker Lisbeth Salander (Claire Foy) to steal FireWall, a computer
program that can access codes for nuclear weapons worldwide. However when the
codes and a young child are stolen by Russian thugs working for an unknown
source, Lisbeth finds herself in a race against time to save the boy and
recover the codes to avert disaster. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">I’m finding it increasingly difficult not to compare ‘The
Girl in the Spider’s Web’ to Fincher’s 2011 film. Firstly because it’s simply
unfair to enter any film expecting to be on the same level of David Fincher, secondly
because this version is intended to be a clean slate and should therefore be
treated as such with no back catalogue to live up to, and lastly because it’s
really convenient and easy to do so. The two approaches to telling Lisbeth’s
story are almost polar opposites in terms of method. Save for the sleek
cinematography and soundtrack, everything that set Fincher’s film apart from
generic contemporary thrillers seems to be absent from this latest effort. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">I was at least hoping that Fede Alvarez could deliver some
visual flair and heightened tension when it came to his direction, and in some
regards he does achieve just that. In mostly comes in quitter scenes, ones that
feel more inherently claustrophobic and are driven less by large scale
spectacle and more by the volatile nature of the characters present. It’s here
that the director of ‘Evil Dead’ and ‘Don’t Breathe’ reminds us what made those
two movies function as well as they did. Certain scenes of conversation have a
palpable air of suspense to them that momentarily makes me want to forgive the
movie’s other shortcomings. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">But on the other hand it only serves to highlight how disappointingly
weak they are. As I tried to let myself be absorbed by these more intriguing
moments, I was reminded of how little characterisation had been given to some
of the movie’s most significant players. It treats the characters less like a
complex psychological thriller and more like a middle of the road Bond movie.
Characters don’t drive the plot as much as they are merely vehicles for it, something
that can guide the audience to another overblown action set piece. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3MBmaSvYm3E-MPK-De8B8QNeRdKjvd8cxw77KuPniUyOqx-2mhXuo15KWdakQj6RVX6s-f5hxb60m-qIx6M2OJ-0RnmcLcGG5N-yDoAoPXKzxoF84QE5YTSXKxrNu7VxeE9sL3u4MnRob/s1600/1528377761778.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3MBmaSvYm3E-MPK-De8B8QNeRdKjvd8cxw77KuPniUyOqx-2mhXuo15KWdakQj6RVX6s-f5hxb60m-qIx6M2OJ-0RnmcLcGG5N-yDoAoPXKzxoF84QE5YTSXKxrNu7VxeE9sL3u4MnRob/s400/1528377761778.jpg" width="400" /></a></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Not only are those set pieces in question weightless for the
amount of tension they hold, but they clash fiercely with the few inspired
moments the film has. Taut psychological suspense leads into inflated car
chases and stunts that, while impressive on a technical level, do little to
immerse me within the grounded stakes that the film wants to establish. I
suspect many fans will be disappointed by the Bourne-esque approach to ‘The
Girl in the Spider’s Web’ and how counterintuitive it is to what this series
began as. But beyond that the action scenes seem at odds with what that very
same film wanted to present itself as just moments earlier. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">If Alvarez had a tough predecessor to live up to in the form
of Fincher, then Claire Foy has even more of a pedigree to uphold in her
performance. Noomi Rapace’s singularly driven performance was so intense that
it single handily elevated the entire film it was within, meanwhile Rooney Mara
was equally phenomenal in the 2011 remake. It is immediately clear that Foy does
not have the script to give her a characterisation worthy of those two
performances, but with what she’s given Foy definitely turns in an accomplished
performance. She sells the determination of Lisbeth with commendable
conviction, and just as the film occasionally shows signs of <span style="margin: 0px;"> </span>intrigue so does her role when she is allowed
to embrace the more vulnerable parts of the characters psyche. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">However on the whole the presentation of Lisbeth is perhaps
the greatest failing of ‘The Girl in the Spider’s Web’. In previous iterations
that character has contained multitudes and conflicts by wanting to be strong
in the face of adversity whilst never being reduced to her past traumas, all in
the name of battling against the misogynistic society which shaped her. Here
though she is little more than a commodity, a blank slate crafted to appeal to
as wide a demographic as possible. Again it comes down to the simple fact that
Lisbeth doesn’t act as a driving force to the plot, instead she is merely in
service to it. For a character as iconic and as revered as her, that might be
the most frustrating aspect of all about this film. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">A generic thriller that reduces an iconic character to just
another moving part in an otherwise forgettable movie that does anything but
defy conventions. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Verdana, sans-serif;"></span><br /></b></div>
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Result: 3/10</span></h2>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Verdana, sans-serif;"></span>Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com0tag:blogger.com,1999:blog-8676536852642246767.post-47016715051864590062018-12-02T17:17:00.000-08:002018-12-02T17:17:25.162-08:00Outlaw King
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIDDt__VvRGjlIDSWsZiI_AYSnBZE_pk4BB9R_QHZyKNc_gRqutOQd09ltysx8-2gmLX9b2LpdOe0B0HOclY85h-0lVe-ls7rRaXuU5ogIWtfKAVaLpbybpG5lw0iRPQavVNM28bCpc9nZ/s1600/39406828_287690602031259_7044930711261806592_n.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="315" data-original-width="851" height="146" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjIDDt__VvRGjlIDSWsZiI_AYSnBZE_pk4BB9R_QHZyKNc_gRqutOQd09ltysx8-2gmLX9b2LpdOe0B0HOclY85h-0lVe-ls7rRaXuU5ogIWtfKAVaLpbybpG5lw0iRPQavVNM28bCpc9nZ/s400/39406828_287690602031259_7044930711261806592_n.png" width="400" /></a></div>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<br /></h2>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-family: Verdana, sans-serif;">"Whether you fight for god, or country, or family, I do not care. So long as you fight."</span></h2>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">There are mentions of William Wallace throughout ‘Outlaw
King’ as the events of this film almost seem to live in the shadow of those now
famed events, and the characters look back to Wallace’s actions and try to
learn from his victories and failings. That almost serves as a strange meta-narrative
for ‘Outlaw King’, a movie about a medieval Scottish rebellion that will
inevitably earn comparisons to ‘Braveheart’ for its subject matter alone.
Though I would not regard Mel Gibson’s film as flawless by any means it is a
daunting comparison given its enduring legacy and popularity. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">After being crowned King of Scotland, legendary warrior
Robert the Bruce (Chris Pine) is declared an outlaw and forced into exile by
the English. Rallying the support of some nobles from across Scotland, Bruce
begins planning a revolt that he hopes has the strength to overthrow the
English and reunify his homeland as one kingdom. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">David Mackenzie has a skill for crafting films that don’t
fit into any specific genre classification. Right up to his most recent efforts
such as ‘Starred Up’ and ‘Hell or High Water’, each of them had the dressing of
a certain genre but defied expectations by engaging in strong character
studies, interpersonal dynamics or larger socio-political themes. On a basic technical
level ‘Outlaw King’ is an impressive achievement, however it lacks a certain
substance that would elevate its story to compelling levels and feels disappointingly
conventional compared to what we have expected from Mackenzie. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Another disappointment is Chris Pine’s performance. Despite
usually carrying a great sense of charisma and gravitas with each of his roles
(most of all in his previous collaboration with Mackenzie, ‘Hell or High Water’),
there’s a pervasive flatness to his portrayal of Robert the Bruce in ‘Outlaw
King’. I can’t fault Pine for his accent and it would be unfair to say there
are any glaring errors in his acting in a momentary sense. But over the course
of the movie it feels as if there is a distinct lack of range on display. Maybe
Pine was trying to convey a sense of a man heavily repressing emotions but if
that is the case the film never follows this as a key theme. Instead I was left
with an impression that Pine’s performance seemed mostly static throughout the
movie, rarely generating a sense of urgency, desperation or passion from Bruce’s
crusade and the cause that motivated it. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">That being said, it is not as if the script gave Pine much
substance to work with. While Bruce’s actions are chronicled in great detail
there’s not much time devoted to his personal trials. So much of the film seems
determined to place Bruce within his historical context that it hardly stops to
examine him on a personal level. You could leave ‘Outlaw King’ with an
understanding of what Bruce did (or not since complete historical accuracy and
movies have never really meshed well together) but not much of a compelling
narrative as to who he was. The film doesn’t provide much of characterisation
for him nor does it present an evocative arc. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHNUZ81Co4BymsgyBrmAteNgIqwwnGSe-xXz61N_rC6ZBfbLkgWCxBgn_wTDoZRA7NTn-pTbFuQB-YJccCjEGgUcY5GKMW8Tuwtd_nWHrKAsUx93CXETYdCI7sBxEdaxko6djILGeBqd8C/s1600/pine_outlaw_king.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="464" data-original-width="825" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgHNUZ81Co4BymsgyBrmAteNgIqwwnGSe-xXz61N_rC6ZBfbLkgWCxBgn_wTDoZRA7NTn-pTbFuQB-YJccCjEGgUcY5GKMW8Tuwtd_nWHrKAsUx93CXETYdCI7sBxEdaxko6djILGeBqd8C/s400/pine_outlaw_king.jpg" width="400" /></a></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">It’s for this reason why the battles, while technically
brilliant, do not feel as involving as they should. ‘Outlaw King’ goes out of
its way to lecture the audience about the historical significance of each
conflict but lacks the personal investment that makes the difference between
spectacle and involvement. Mackenzie shoots these action scenes with brutal
ferocity that is very striking to behold. Each clash feels hard fought and the
impact of every confrontation is keenly felt on a raw, visceral level. It’s
just a shame that none of that is applied to a more intimate staging. When
Wallace cries out in ‘Braveheart’, first and foremost we feel an individual
with all his passion and charisma, which in turn ripples backwards to inspire
thousands. That is where the emotional impact comes from. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">‘Outlaw King’ is worthy of being compared to ‘Braveheart’ in
the scope of its production though. The impeccable costume design and wide
environments make for an epic spectacle. Cinematographer Barry Ackroyd allows
the full sweeping weight of the landscape to fill the screen and the result is
a highly immersive palette from which to stage some picturesque set pieces. The
score and sound design are also worth commending, one communicating the epic
scope of these historically meaningful battles whilst the other communicates
the intimate grittiness of daily life and brutal battles. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">There are so many inklings of interesting themes throughout ‘Outlaw
King’, many of which are brought up directly through the conversations
characters have. The price of ruling, the sacrifice of rebellion, the courage
to persevere when all seems lost. All interesting concepts but none of them are
explored or pursued by the script. Instead it seems content with trudging from
one battle scene to the next, which not only creates a repetitive pace to the
movie but leaves behind any compelling narrative that would have made Robert’s
cause emotionally resonant. It’s tragic to see such effort put into recreating
epic battles only to realise I had no reason to care for them. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">‘Outlaw King’ is appropriately epic and technically proficient,
but lacks any intimate emotional involvement to make its story feel compelling
for its entire runtime. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Verdana, sans-serif;"></span><br /></b></div>
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Result: 5/10</span></h2>
Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com0tag:blogger.com,1999:blog-8676536852642246767.post-32563748852237067172018-12-02T16:15:00.002-08:002018-12-02T16:15:52.707-08:00Blindspotting
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLnhf_4RaaGzzcuiDYpjqfIUoOTDmnGI8_dTtCR6VefJQqYM0X-IbHMhnWWTggEbPdHp-oodDuiH2JRJbwcg0dmdQjUqUSf2t-1BPMlM8Mn6sCuPh85cmrEgFca_00bcHfZcwNsksYiVrT/s1600/Blindspotting-poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="418" data-original-width="610" height="273" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhLnhf_4RaaGzzcuiDYpjqfIUoOTDmnGI8_dTtCR6VefJQqYM0X-IbHMhnWWTggEbPdHp-oodDuiH2JRJbwcg0dmdQjUqUSf2t-1BPMlM8Mn6sCuPh85cmrEgFca_00bcHfZcwNsksYiVrT/s400/Blindspotting-poster.jpg" width="400" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: Verdana, sans-serif;"><br /></span></div>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-family: Verdana, sans-serif;">"Every time I come around, you monsters got me feeling like a monster in my own town."</span></h2>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Powerful subjects often require powerful statements. I say
this because a film like ‘Blindspotting’ does not tread lightly around its own
topic, nor does it approach it with a huge degree of nuance. But if you were
looking to criticise the film for that then I would direct you back towards my
opening sentence, films that cover the ground that this film does need not be
subtle. The issue they are discussing is both too important to go unnoticed and
too provocative as is to pretend that there is any understated way to approach it.
</span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Collin (Daveed Diggs), is a convicted felon trying to get
through the last three days of his probation without incident. He and his friend
Miles (Rafael Casal) work for a moving company located in Oakland. Determined to
keep a lid on things, Collin finds that increasingly difficult due Miles’ short
temper and volatile persona. Their lives are further complicated by an incident
Collin witnesses one fateful night. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">The outspoken nature of ‘Blindspotting’ is just one of the
many ways that the film reminded me of Spike Lee’s early work, in particular
his 1989 masterpiece ‘Do the Right Thing’. Both deal with themes of race
relations on a systemic and individual level, both are highly stylised works of
filmmaking with kinetic camera movements and vibrant editing choices. They both
blend high drama with low comedy and crucially they each begin as laid back “day
in the life” kind of stories before escalating into something with far more
gravitas. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">However for all their differences it’s worth noting that ‘Do
the Right Thing’ was Lee’s third outing as a director, whereas ‘Blindspotting’ is
the first from its director Carlos Lopez Estrada. For a debut feature it
displays an astonishing command of craft and confidence of style. Its visual dynamism
effortlessly guides the viewer through Collin and Miles’ routines, making their
mundane exchanges, moving jobs and downtime feel completely involving. It’s at
these moments when the movie’s tone is most playful, so therefore Estrada
allows his own stylistics to be at the forefront, often putting them to great
comedic effect. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">These moments of humour that are laced throughout the movie
make its high drama feel even more impactful. Estrada has such confidence in
tone that he knows when to pull back the kinetic camera work and quick editing
to focus on the human conflict unfolding in the scene. He allows his actors to
emote and puts a tight focus on them when they do, sometimes to an
uncomfortable yet immensely cathartic effect. Perhaps the best example of this
is a scene in which two characters recognise Collin from an earlier encounter
and begin to recall a story. What we think will be a humorous anecdote, with a
stylised visual language to match, gradually morphs into a major turning point
in our understanding of the story and characters. It deepens our context on the
history of these people and provides motivation for their dynamic now. At no
point does this shift to drama feel even remotely strained. When the anecdote
is over Estrada lets his camera linger on those who are most affected by it as
they react, and this sudden halt lets us feel their emotional turbulence so
acutely. </span></div>
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<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi08YCP-aF11nOpMl0XXyS3wIP6rP7RAKnSzC6eyunGX-zaR0v5Gai4Yfm6GlBGqrJS9XIVT4pWcpnevSmIXZ0s2_hEWsdSMMYzRImgCkl4VT6otqp6GYkRGtCkapk2AxAbM3TH3pKPjJ1n/s1600/Blindspotting_181_rgb-1600x900-c-default.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="900" data-original-width="1600" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi08YCP-aF11nOpMl0XXyS3wIP6rP7RAKnSzC6eyunGX-zaR0v5Gai4Yfm6GlBGqrJS9XIVT4pWcpnevSmIXZ0s2_hEWsdSMMYzRImgCkl4VT6otqp6GYkRGtCkapk2AxAbM3TH3pKPjJ1n/s400/Blindspotting_181_rgb-1600x900-c-default.jpg" width="400" /></a></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Another aspect of the movie you feel whilst watching it is
the unabashed adoration Estrada has for Oakland. ‘Blidspotting’ establishes
such a refined sense of environment and shoots it so beautifully that it is
hard not to feel the passion the characters do for where they live. With just a
handful of characters the movie paints a portrait of a world that extends far
beyond these people. As the film escalates it becomes all the more apparent
that its statements also reach far beyond the individuals of its story. ‘Blindspotting’
carries great ambition in its themes and states them with blunt force. Though
it is far from subtle, overtly stating its theses’ at numerous points, it is
undeniably powerful. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">That power is backed up by the excellent performances given
by its relatively small cast. As the movie unfolds both Collin and Miles are
bestowed with additional layers of depth that make your preconceptions about
them all the more impactful. David Diggs projects such a convicning sense of
carelessness in his portrayal of Collin that it is all the more impactful when
we learn all that is weighing on him. Though I would consider Collin the
protagonist of the film there is just as much of a compelling arc given to
Miles as we uncover his temperament. Rafael Casal’s performance is seeping
volatile energy which sometimes manages to evoke tension in a scene all on its
own, as we fear when Miles will explode. But as our understanding of him
becomes more complex, so does the persona that Casal conveys. But outside of
the high minded drama it is worth noting how well these two actors execute
their comedic moments, so much of the humour within ‘Blindspotting’ rests on
their ability to tell compelling arcs whilst being funny and they each do just
that with ease. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Though my comparison between ‘Blindspotting’ and ‘Do the
Right Thing’ was meant as praise, I do think it’s worth noting how tragic it is
that these issues are still so pervasive. Each film goes about making a
statement on the intricacies of race relations, whether that be on a personal
level or on a systemic one. What Lee had to say was radical in the late 1980s,
when most major movies seemed to treat prejudice as a thing of the past. ‘Blindspotting’
highlights how essential it is that films like this continue to exist, and
continue to make their statements very clear. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Stylish, vibrant and energetic on a visual level, but backed
up with a masterful blend of subtle comedy and heavy drama, ‘Blindspotting’ is
a supremely confident directorial debut. <span style="margin: 0px;"> </span><span style="margin: 0px;"> </span></span></div>
<br />
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></h2>
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Result: 9/10</span></h2>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Verdana, sans-serif;"></span>Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com0tag:blogger.com,1999:blog-8676536852642246767.post-56531853749762539942018-11-30T17:03:00.001-08:002018-11-30T17:03:21.068-08:00The Miseducation of Cameron Post
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmCDiTMm3Y9ykey_O4GmDK1NrFAN0WwGVg_r69AjLG1ucN8WdIuEFu70xUBcLW-l3rrI7EM1EjgLcnoofyPy6jT-K9FtsNTH279cNhP2LZiQewRPQsPJTWImkM8ZUhXAycJgF3D2IpXXxa/s1600/Miseducation-of-Cameron-Post-UK-poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="850" data-original-width="1134" height="238" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmCDiTMm3Y9ykey_O4GmDK1NrFAN0WwGVg_r69AjLG1ucN8WdIuEFu70xUBcLW-l3rrI7EM1EjgLcnoofyPy6jT-K9FtsNTH279cNhP2LZiQewRPQsPJTWImkM8ZUhXAycJgF3D2IpXXxa/s320/Miseducation-of-Cameron-Post-UK-poster.jpg" width="320" /></a></div>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-size: small;"></span><br /></h2>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-family: Verdana, sans-serif;">"I'm tired of feeling disgusted with myself."</span></h2>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><b></b><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">It is interesting how we label certain movies as “disturbing”
and what exactly constitutes those disturbing aspects of said movie. We often
associate it with the pure reaction of seeing something that unnerves us on a visceral
level, which most often comes down to physical mutilation or act of violence. However
there is something to be said for the subtler ways movies can disturb us, how certain
subjects and practises seem so alien and absurd that it is not until we truly
dwell on them and witness them in detail that the horror emerges. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">After being caught in a sexual encounter with another young
girl, Cameron Post (Chloe Grace Moretz) is sent by her devoutly Christian aunt
to an institution called God’s Promise, a centre that offers “gay conversion
therapy”. Soon Cameron finds herself bonding with the other teenagers in the establishment,
each one of them coming to terms with their own identity and the prejudice
surrounding them. <span style="margin: 0px;"> </span></span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">It is both surprising and entirely inevitable that Desiree
Akhavan, the director of this film, cites John Hughes as being one of her
biggest influences. The gender dynamics and sexual politics of Hughes coming of
age movies were often limited to their own era, but his core themes of identity
and disenfranchisement have an enduring legacy which is felt keenly in ‘The
Miseducation of Cameron Post’. The biggest difference between the two is that
where Hughes found humour and optimism in the struggles of his teenagers,
Akhavan builds towards a much bleaker and more disturbing picture. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">That is not to say ‘The Miseducation of Cameron Post’ is
incapable of finding humour in certain places. In fact the first act almost
seems to enjoy finding comedy in the measures God’s Promise puts in place and
the idiotic details of its procedures. From fear that a boy having long hair
will attribute to his sexuality to encouraging the girls not to abbreviate
their names for fear of making them more masculine, one can’t help but laugh at
the stupidity of such “logic”. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">However as the film moves along the sense of entrapment
truly sinks in as it dawns upon Cameron and the viewer that a facility like
this is only the manifestation of a prejudice that is just as prevalent on the
outside world. Certain story beats drive this point home with heart-breaking
effect and with each impactful moment Akhavan is skilled amount to utilise a
sense of quietness so as to allow the true existential horror of the
circumstances to really sink into the viewer. Those circumstances are
essentially an institution devoted to pushing self-hatred, one that aims to
condition its residents to believe that the hatred and rejection hurled at them
is entirely their own doing. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0_vUbsTCKFzGROdTO0HzxasGgY2XwE8K48AUiwbqau3YrwfRhKq8n0mt1pqu8_A1-Ti4Mth25YG1K0CGMeiDMPYx96yPNqBpLMLgsl7E0A92e1R4JzIwE_7uvGIfiNU8BCmkY1yOPlkvc/s1600/cgm.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="457" data-original-width="800" height="227" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi0_vUbsTCKFzGROdTO0HzxasGgY2XwE8K48AUiwbqau3YrwfRhKq8n0mt1pqu8_A1-Ti4Mth25YG1K0CGMeiDMPYx96yPNqBpLMLgsl7E0A92e1R4JzIwE_7uvGIfiNU8BCmkY1yOPlkvc/s400/cgm.jpg" width="400" /></a></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">This is overtly stated in a scene near the end of the movie.
Institutions like the ones presented in this film are emotionally abusive by
design, their whole functionality is to tear down the identity young people are
trying to craft for themselves. The scene also reminds the viewer that this
emotional abuse was not even considered illegal in the 1990s, and in some parts
of the world is Stillwell within the confines of the law. Cameron is asked
whether she trusts the councillors, and though she trusts them to perform the
most basic level of hospitality, she can’t say they do anything to make her
feel safe or secure in who she is. To the contrary their mission is to destroy
any faith these young people have in themselves.</span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">This scene also showcases just how brilliant Chloe Grace-Moretz
is in this movie. The role of Cameron is a decidedly difficult one that Grace-Moretz
navigates excellently. She conveys the maturity and emotional stability Cameron
has, because despite her predicament she is confident in her own budding
feelings. However the versatility of her performance shines through as she
communicates the insecurity and doubt Cameron starts to feel as every peer
around her continually insists that there is something wrong with her.</span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">The tone of the movie is a similarly brilliant balancing
act, reconciling the ambiguous humour with the underlying tragedy to great
effect. The intimate staging and direction by Desiree Akhavan takes note of the
small moment of freedom as well as the interpersonal relationships Cameron
forms there. It is ironic that being sent to conversion therapy allows Cameron
to find other outsider with whom she can bond with and relate to. But as the
film moves forward it is hard not to be weighed down by the crushing reality of
the situation. In some ways the visual language of Akhavan’s film reminded me
of other dramas such as ‘Short Term 12’ and ‘Girl, Interrupted’, both of which
deal with young people battling their own demons. But where ‘The Miseducation
of Cameron Post’ sets itself apart is to remind the audience that in its world
it is the institution housing those young people is not for their benefit, and
far from being internal the demons here are very much external. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Disturbing and emotionally provocative yet simultaneously
intimate, observant and surprisingly hopeful, ‘The Miseducation of Cameron Post’ is an insightful
work of drama. </span></div>
<br />
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"><br /></span></h2>
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Result: 8/10 </span></h2>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Verdana, sans-serif;"></span>Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com0tag:blogger.com,1999:blog-8676536852642246767.post-45545727473070318952018-11-30T14:24:00.002-08:002018-11-30T14:24:38.103-08:00Robin Hood
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUpiDjWi4cNNUoypUo2mHFZYezQn4VD3H-_OZ7-QYbLMa_3XAvw-bXF36qfb3vg7t_Kj4ZuT8nQi-LEB82w4gqmh_4Sym2e47778vehFBMBG01QWLc1CqrYNCjB5uq4xTckt9vDzF-bjY6/s1600/Robin-Hood-quad-poster-600x450.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="450" data-original-width="600" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjUpiDjWi4cNNUoypUo2mHFZYezQn4VD3H-_OZ7-QYbLMa_3XAvw-bXF36qfb3vg7t_Kj4ZuT8nQi-LEB82w4gqmh_4Sym2e47778vehFBMBG01QWLc1CqrYNCjB5uq4xTckt9vDzF-bjY6/s320/Robin-Hood-quad-poster-600x450.jpg" width="320" /></a></div>
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<span style="font-size: small;"></span><br /></h2>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-family: Verdana, sans-serif;">"You were a lord, but now you get to be a thief. And I ma gong to show you how."</span></h2>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><b></b><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Sometimes you have to stare in disbelief at studios as they
undertake an endeavour that seems utterly destined to fail. One would think
that when not even Ridley Scott can adapt Robin Hood to work as a compelling 21<sup>st</sup>
century cinematic property that studios would at least wait before rushing into
another ill-conceived attempt to launch a franchise with the popular folklore
character. But apparently the critical and financial disaster that was Guy
Ritchie’s ‘King Arthur’ from 2017 was not strong enough of an indicator that
sometimes you can simply choose not to make a movie. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Having gone from a life of luxury to a war hardened
crusader, Robin of Loxley (Taron Edgerton) returns to his homeland to find its
people burdened by the oppressive and ruthless Sheriff of Nottingham (Ben
Mendelsohn). Along with his Moorish commander Jon (Jamie Foxx), Robin forms a
rebellion to put an end to the unjust regime and foil to Sheriff’s plots. </span></div>
<br />
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<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">There are many apt comparisons you could make between 2018’s
‘Robin Hood’ and the aforementioned ‘King Arthur’ movie that was released last
year. Both, despite being set in the traditional time period for each
respective story, are clearly made with an intent to modernise the properties.
From the sets and costumes that mimic more modern aesthetics to the way both of
them flaunt their own “grittiness”, there’s a distinct need within both efforts
to distance themselves from the old-fashioned takes. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">What the two films also share is a certain uniqueness to
their failings. For all its issues ‘King Arthur’ was competent on a bare
technical level. Ritchie did indeed commit to his vision, but that vision happened
to be a bloated and self-serious farce. The same can be said of ‘Robin Hood’,
the story choices it makes are executed with finesse and occasional competence,
but the story choices in question are simply baffling in how anyone involved in
making the film thought they could function as a sincere work of cinema. </span></div>
<br />
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<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Much of the modernisation of this ‘Robin Hood’ is clearly
attempting to evoke imagery rooted in the 21<sup>st</sup> century. From the
medieval guards inexplicably wielding riot shields to the towering streets meant
to evoke the kind of setting one would find in an urban thriller, no chance for
an obvious modern day parallel is wasted. On the one hand it’s admirable to see
a film commit so wholeheartedly to this thread, which is exactly what ‘Robin
Hood’ does. However the cognitive dissonance between the setting of a folklore
tale and a grounded political allegory is too glaring of a gap to overcome. Despite
its best efforts the script never marries to two tones and the result is
awkward at best and unintentionally hilarious at worst. </span></div>
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<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWTigactZ_SjVpCLGpBjzQXAu17YZBSRdp1-71M-ClTrdTurAEvp-DR-f61B-M1BC3mfRAFfhshjmMVVurSL5FOOvQ9QTr1b-xZIiVDcULDXfN77d-gZw3HB5cQf479H-Zlj3LWxpHIABS/s1600/robin_hood_origins_everything_taron_egerton_0.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="464" data-original-width="825" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgWTigactZ_SjVpCLGpBjzQXAu17YZBSRdp1-71M-ClTrdTurAEvp-DR-f61B-M1BC3mfRAFfhshjmMVVurSL5FOOvQ9QTr1b-xZIiVDcULDXfN77d-gZw3HB5cQf479H-Zlj3LWxpHIABS/s400/robin_hood_origins_everything_taron_egerton_0.jpg" width="400" /></a></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">The pinnacle of this absurdity is a sequence showcasing
Robin’s time in the crusades which is shot, edited, sounded and even colour
graded to mimic the media depictions of the Iraq/Afghanistan Wars. Even the
structure of the sequence follows the patterns of something set within modern
warfare. Troops engage in house sweeps with longbows positioned in place of
rifles, lines of soldiers are scattered by overhead “sniper” fire and crossbows
are shot with the urgency of machine gun turrets. They even find a substitute for
heavy artillery which decimates the area in the form of catapults. It’s nothing
short of an exploitative and lazy attempt to make the story feel relevant
without putting any actual thought into the ramifications of the parallels
being drawn. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">See, there is nothing inherently wrong with obvious
allegories (I certainly couldn’t profess to be a fan of Darren Aronofsky if
there was), but the subtext within ‘Robin Hood’ doesn’t have any underlying
narrative to justify itself. It refuses to develop or discuss its own
allegories on any meaningful level. That means that all the film has are a
series of bluntly drawn metaphors that don’t connect to one another or the
central narrative in any significant way. It is all well and good staging your medieval
crusade to look like the Gulf War and adding in a backstory of Robin being
conscripted to the army for Vietnam War parallels, but what is any of it really
serving? </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">With all that said, reading into the allegorical references
of ‘Robin Hood’ may be giving the movie too much credit. Save for some
evocative and tonally confused imagery, what we have here is an unimaginative and
uninspired retelling that overtly mimics the likes of ‘Batman Begins’ in terms
of how it tries to present its origin story. The dialogue is either purely
functional in serving exposition or tacky one liners. The characters are all
one dimensional props that the writers seemed to hope would be carried by their
own recognisability in popular culture (someone needs to tell these people that
there aren’t any die hard Little Jon fans who will cheer in recognition of the
name). The performances are mostly static with none of the promising actors
reaching beyond their normal state. The one exception is Mendelsohn as the
Sheriff who seems to be in a completely separate movie, chewing the scenery to
pieces with comical effect. He’s evoking Alan Rickman’s performance as the
Sheriff, but instead finds himself in a film insistent upon treating his pantomime
routine with complete and utter severity. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Tonally confused doesn’t even begin to describe the mess
that is 2018’s ‘Robin Hood’, a derivative and uninspired mess with many
misplaced attempts at modernity. </span></div>
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<div style="margin: 0px 0px 10.66px;">
<b style="mso-bidi-font-weight: normal;"><span style="font-family: Verdana, sans-serif;"></span><br /></b></div>
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Result: 2/10</span></h2>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Verdana, sans-serif;"></span>Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com0tag:blogger.com,1999:blog-8676536852642246767.post-83280843340675221762018-11-29T17:49:00.003-08:002018-11-29T17:49:59.971-08:00Widows
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgijvd9V8IiX6xwH9EKYgDPORP-HBf8SBdXNvikArc1VsRrBFLIKaM12NermTpAt_DTdCnjYDGthlB-sah3Uo58DOeUR12BEkc1OAznFStcbP3EGrWWiAGW-d4KeM7ysBhiqYg6y1kQzQtE/s1600/__5bedf1e25fe9b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="690" data-original-width="1600" height="171" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgijvd9V8IiX6xwH9EKYgDPORP-HBf8SBdXNvikArc1VsRrBFLIKaM12NermTpAt_DTdCnjYDGthlB-sah3Uo58DOeUR12BEkc1OAznFStcbP3EGrWWiAGW-d4KeM7ysBhiqYg6y1kQzQtE/s400/__5bedf1e25fe9b.jpg" width="400" /></a></div>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-size: small;"></span><span style="font-family: Verdana, sans-serif;"><br /></span></h2>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-family: Verdana, sans-serif;">"This is about my life. And because it's about my life, now it becomes about yours."</span></h2>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><b></b><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Steve McQueen is perhaps one of the best working examples of
a director who can see the innermost themes of a script and use their
directorial prowess to bring those themes right to the forefront, thereby
elevating the film as a whole. The inhumanity of ’12 Years a Slave’, the
cyclical violence of ‘Hunger’ and the inescapable trauma of ‘Shame’. His
ability to elevate strong screenplays into great films is unparalleled, and
though on the surface his latest film is a more concept oriented thriller,
McQueen is still working at his creative peak. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">A police shootout leaves four thieves dead during an
explosive armed robbery attempt in Chicago. Their widows, Veronica (Viola
Davis), Linda (Michelle Rodriguez), Alice (Elizabeth Debicki) and Belle
(Cynthia Erivo), have nothing in common except a debt left behind by their
spouses' criminal activities. Hoping to forge a future on their own terms,
Veronica joins forces with the other three women to pull off a heist that her
husband was planning.</span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">One of ways in which a film like ‘Widows’ would appear to be
outside of Steve McQueen’s usual oeuvre is that it seems to be driven more by
concept than the deeply human dramas which he had helmed previously, or at
least that was what I thought upon approaching his latest effort. Upon watching
‘Widows’ however it becomes very apparent that this is just as much an intimately
drawn, character driven story which priorities the humans at the centre of its
narrative and focuses keenly on them. By the time the heist comes to fruition
at the climax of ‘Widows’ I was so utterly enthralled in the tension of the
scene both for the consequences every action would have on the narrative but
also for the emotionally fallout it would cause. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">To give credit where it is due, before I shower praise on
McQueen I also have to commend Gillian Flynn for a truly masterful screenplay.
Flynn’s script is one that functions on numerous levels. First and foremost it
works as an utterly gripping exercise in the heist genre. It is abundant with
twists and turns without becoming overly convoluted. It keeps the stakes and
potential consequences of the heist in focus at all times whilst slowly
building an intricate and detailed portrait of how the characters will enact
their plans. On a broader scale it brilliantly builds tension through the movie’s
pacing and structure to allow for the tension wracked finale to play out with perfect
clarity, but leaving just enough room for a few final surprises that managed to
shock me with every revelation. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">But beyond the confines of its genre, what Flynn
accomplishes in her script for ‘Widows’ is a deeper exploration of character
and theme than many heist movies allow for. Whereas many movies present a
motivation for the characters and stop, Flynn gives us an insight into her characters
own conflicts with their motives. We see their fears and insecurities, their
doubt in their own ability and how those moments of weakness inform their
development across the movie. There is also a lot to be said about the wider socio-political
themes Flynn weaves into her script. ‘Widows’ is as much a story about the
environment that has contributed to the circumstances the characters find
themselves in as it is about the people themselves. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Of course, having an ambitious undercurrent that deals with
themes of class, economic changes, race, political hierarchy, gender dynamics
and abuse would risk overshadowing the central narrative of any movie. That is
where McQueen comes into the picture. So many of these ambitious themes are
told through a visual motif that it stands as a testament to McQueen’s trust in
his audience. He places small details in the language of his visuals that allow
any viewer to pick up on the broader scope of what his film is saying, as well
as making it all the more rewarding to revisit. </span></div>
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<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTVNNK4YYvB4unYHF9HbIltwM03t5HHZLduhY06iSpSsoKqQuS14k2l6UXLhWMC-9HOaOvx38MA2E_JQLbGMMfzEgoawSCtxh6tU1Sgam5LXleNxF6pn0IfEWHS-c6ryK5GIKwvBrSCmOu/s1600/widows_review_viola_davis_mcqueen_0.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="464" data-original-width="825" height="223" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgTVNNK4YYvB4unYHF9HbIltwM03t5HHZLduhY06iSpSsoKqQuS14k2l6UXLhWMC-9HOaOvx38MA2E_JQLbGMMfzEgoawSCtxh6tU1Sgam5LXleNxF6pn0IfEWHS-c6ryK5GIKwvBrSCmOu/s400/widows_review_viola_davis_mcqueen_0.jpg" width="400" /></a></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">McQueen’s ability to convey an entire miniature narrative
through nothing more than his own directorial prowess is astonishing. Scenes
are able to exist outside of their basic functionality and transcend the
perception of what we think a heist movie to be. Perhaps my favourite moment is
a seemingly simple scene that involves two characters talking on a short car ride.
What they are saying informs their characters and dynamic, but what McQueen
chooses to show is even more valuable. He has the camera remain outside of the
car as it drives, focussing not on the conversation but instead the landscape
and noting how the slums of Chicago so rapidly turn into pristine mansions. It
paints a portrait of a city divided by wealth, with lines so acutely drawn that
you can narrow the disparity down to just a few streets away. It’s filmmaking that
is so subtle yet so deliberate that it is simply astounding. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">As impeccable a job both Flynn and McQueen do of injecting a
sense of humanity into the film, it is the performances that really drive the
compelling narratives home. Viola Davis, Elizabeth Debicki, Michelle Rodriguez
and Cynthia Erivo are all outstanding as the central heist perpetrators. Their
determination is always on display, and works alongside their discomfort to
make them all the more compelling. They are all unique enough to function as captivating
individuals while simultaneously sharing a fascinating dynamic at having been
united by this common cause. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Meanwhile the many forces standing in their way are equally
fantastic, from Colin Farrell’s sly politician who is bestowed with surprising
depth as the film progresses, to Daniel Kaluuya’s sceney chewing magnificence
as an unhinged sociopath. When you also have the additions of Liam Neeson,
Carrie Coon, Bryan Tyree Henry and Robert Duvall to the cast, all of whom are
turning in excellent supporting performances themselves, it really is an ensemble
to behold. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">‘Widows’ is the kind of thriller than functions on several
levels, which makes it enthralling on the first viewing and involving on every
subsequent one. </span></div>
<br />
<h2 style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">Result: 10/10</span></h2>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Verdana, sans-serif;"></span>Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com0tag:blogger.com,1999:blog-8676536852642246767.post-11815684764520451052018-11-22T16:12:00.001-08:002018-11-22T16:12:08.944-08:00Overlord
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<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxhY2QwVc5dRzXRYubrq7WbSael3MfoV6jqloSPcD1B3Yj_lqicgtQ7J61mTwddqMB_0aha-bgkKwx5T2fTSEXVgnR_VSsbMfGGGNGhDDDHmCS4NdKNhYOxDDdp6dKyyRwcPVgal0YeZ5X/s1600/Overlord-Movie-2018-Poster.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="420" data-original-width="798" height="210" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxhY2QwVc5dRzXRYubrq7WbSael3MfoV6jqloSPcD1B3Yj_lqicgtQ7J61mTwddqMB_0aha-bgkKwx5T2fTSEXVgnR_VSsbMfGGGNGhDDDHmCS4NdKNhYOxDDdp6dKyyRwcPVgal0YeZ5X/s400/Overlord-Movie-2018-Poster.jpg" width="400" /></a></div>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-size: small;"></span><span style="font-family: Verdana, sans-serif;"><br /></span></h2>
<h2 style="margin: 0px 0px 10.66px; text-align: center;">
<span style="font-family: Verdana, sans-serif;">"A thousand year army, needs thousand year soldiers."</span></h2>
<span style="font-family: Verdana, sans-serif;"></span><div style="margin: 0px 0px 10.66px;">
<b></b><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">For all the success it’s had in other mediums, it is
somewhat surprising that it has taken this long for the concept of Nazi zombies
to make its way onto the big screen in this kind of mainstream capacity. What is less surprising is that it comes
with the backing of JJ Abrams, who has been using his producer credits to
affective use on original and intriguing genre experiments for the best part of
a decade now. Having spent so long in the realms of franchises it is
interesting to see Abrams’ return to a property with no existing IP, and it
will be intriguing to see if he can garner a whole new “mystery box” to indulge
in. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">On the eve of D-Day, American paratroopers drop behind enemy
lines to penetrate the walls of a fortified church and destroy a radio
transmitter. As the soldiers approach their target, they soon begin to realize
that there's more going on in the Nazi-occupied village than a simple military
operation. Making their way to an underground lab, the outnumbered men stumble
upon a sinister experiment that forces them into a vicious battle against an
army of the undead.</span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">War and horror are genres that can often be thought of in
one. Evoking the horror and inhumanity of war is something filmmakers have been
striving to do with their cinematic portrayals of conflicts for decades now.
But to see a movie with the dressings of a war film populating itself with
overt horror elements is an entirely different, but interesting, approach. ‘Overlord’
certainly isn’t fusing horror with war in the same way Francis Ford Coppola or
Stanley Kubrick would fuse the violence of combat with existential dread.
Instead it brings forth our more explicit fears of being attacked by hordes of
the undead (which I won’t lie, is definitely something I’ve contemplated more
than mere existential dread). <span style="margin: 0px;"> </span></span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;">A movie like ‘Overlord’ lives and dies on its tone. There
are no cheap thrills to be found within a self-serious affair that refuses to
acknowledge the ridiculousness of an inherently ludicrous concept. At the same
time however, too many knowing winks to the audience can dissipate any sense of
tension or sincere stakes within the narrative. It’s a delicate line to walk
and ‘Overlord’ treads it with excellent care. The film revels in its own high
concept outlandishness whilst also wonderfully indulging in the genuine tension
of its plot. In many ways it’s somewhat reminiscent of the eary work of John
Carpenter, a filmmaker who dealt in eccentric concepts without ever thinking
himself above the material. </span></div>
<br />
<div style="margin: 0px 0px 10.66px;">
<span style="font-family: Verdana, sans-serif;"></span><br /></div>
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<span style="font-family: Verdana, sans-serif;">Perhaps it works because, like Carpenter, Avery finds the
humanity amidst a high concept splatter-fest and grounds it through strong
characterisation. Part of that is through the performances of the cast, which
brings me onto another major link to Carpenter in the form of Wyatt Russell.
The son of frequent Carpenter collaborator and living legend Kurt Russell,
Wyatt is uncannily like his father in terms of screen presence and serves as
the epitome of why ‘Overlord’ works. Russell is charismatic, funny and committed
without ever straining himself to achieve any of those things. He transitions
from one mood to another effortlessly whilst uniting them as part of a single
solid character. He elicits just enough sympathy and humanity for the sincere
human moments to feel compelling but exudes in equal measures an infectious
swagger which allows you to cheer at the pulpy entertainment value. </span></div>
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioEiip3fpupwRJIBEqbaaFIrNJLEgMY6ifueXbWULnWCXQA6GreA6ISce9rTsT6xa6Gpm2WOAYwsj3gf5no6r1XF_OkezyMDCj3Onro-ESQSrVAQsNTFw1hOoHK0mTBZljz15EEntDqsg7/s1600/jj-abrams-overlord-gets-a-final-trailer-filled-with-mayhem-social.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="563" data-original-width="1000" height="225" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEioEiip3fpupwRJIBEqbaaFIrNJLEgMY6ifueXbWULnWCXQA6GreA6ISce9rTsT6xa6Gpm2WOAYwsj3gf5no6r1XF_OkezyMDCj3Onro-ESQSrVAQsNTFw1hOoHK0mTBZljz15EEntDqsg7/s400/jj-abrams-overlord-gets-a-final-trailer-filled-with-mayhem-social.jpg" width="400" /></a></div>
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<span style="font-family: Verdana, sans-serif;">In many ways Avery handles the tone of the overall film in
the same manner. ‘Overlord’ is at once bombastic and gory to wonderful effect
in how it indulges in the over the top blood soaked thrills whilst also taking
itself seriously enough to commit fully to the genre hybrid it represents. It
holds enough tension and genuine fright within its set pieces to fulfil its
promise of horror whilst also capturing the bombastic energy of a traditional war
film. In simple terms the film knows what it is. It trims any fat or excess in
favour of simply executing the idealised version of the genre experiment it set
out to be. </span></div>
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<span style="font-family: Verdana, sans-serif;">So it comes as no surprise to say that the film is blunt and
simplistic. By no means should you go into ‘Overlord’ expecting any degree of
complexity or nuance which in some regards is a shame since the film has the
potential to craft a more emotionally subtle narrative. Though that seems in
contrast with my praise for the film being appropriately self-aware, <span style="margin: 0px;"> </span>the craft of ‘Overlord’ is strong enough that
it inadvertently leaves room open for a deeper exploration of its characters
and setting. Despite a phenomenal opening and closing act the film loses some sense
of substance in the middle, and the inclusion of some could have helped alleviate
the empty space felt between each gory set piece. </span></div>
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<span style="font-family: Verdana, sans-serif;">As a singular piece of genre experimentation though, ‘Overlord’
is appropriately entertaining and rewarding for what it promises. There may not
be any subtext to find but in its place there are some terrific practical effects
and thoroughly enjoyable action set pieces which are very clearly laced with
the DNA of horror. The plot is fast paced and energetic to a point where it sometimes
feels exhausting but on the other hand it’s refreshing to see a movie with this
kind of concept obviously placing trust in its audience to keep up with the
plot and not talk down to them.</span></div>
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<span style="font-family: Verdana, sans-serif;">‘Overlord’ doesn’t sell any of its genres short, instead it
commits to each one of them with equal enthusiasm and weaves them together in a
work of pure pulp enjoyment. </span></div>
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<span style="font-family: Verdana, sans-serif;">Result: 7/10</span></h2>
<b></b><i></i><u></u><sub></sub><sup></sup><strike></strike><span style="font-family: Verdana, sans-serif;"></span>Joshua Pricehttp://www.blogger.com/profile/04412916689624990686noreply@blogger.com0