Nyad

Image credit: themoviedb.org

There is so much in this great, wide world. So much culture, history, facts, stories, jokes, relationships, people, places, and dreams. It’s impossible for one person to know it all, and it is impossible for one person to fathom, understand, and absorb it all. While we as a species have made some truly epic blunders, catastrophic mistakes, and unbelievable cockups over the course of our history, one thing we have done right is the telling, sharing, and recording of stories; true stories, fantasies, dreamed stories and everything in between. Literature and cinema are my two favourite things to come out of our species, aside from maybe food. And I just finished watching a movie that reminded me of this: Nyad.

Diana Nyad (Annette Bening) is a retired marathon swimmer whose life has lately been missing the drive, excitement, and adventure of yesteryear. Shortly after her 60^th birthday she decides to start training again so as to finally achieve her dream of swimming 110 miles from Cuba to Florida – a feat she attempted thirty years ago but was forced to abandon. With her best friend and coach Bonnie (Jodie Foster) by her side, Diana assembles a team as crazy and driven as she is, and she braves sharks, jellyfish, fierce currents, and physical and mental exhaustion to prove that you are never too old to achieve your dreams.

What an amazing story and it has been made into an amazing film. This feature debut from Elizabeth Chai Vasarhelyi and Jimmy Chin not only chronicles the life achievements of an amazing woman who used her indomitable spirit to combat the limitations of age, but it’s a beautiful and inspiring look into the importance of relationships at every stage of life and a reminder that the Aged still have voices that can and will be heard.

A biographical sports drama, the film flicks back and forth between the current narrative and the context of Nyad’s past. These contextual scenes use genuine footage and commentary from interviews and media broadcasts of Nyad’s achievements and, mixed in with some interpreted and reenacted scenes from Nyad’s childhood, does a magnificent job of show-don’t-tell, giving the audience all the dramatic context they need without having to spell it out and make a big scene out of it. It’s all very tasteful and it sets the rhythm of the film beautifully.

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Then we have the performances from Annette Bening and Jodie Foster; two incredible actresses who are the perfect cast choice for this film as they are both strong women achieving great things past a certain age, especially in an industry that makes it hard for women to do that. Bening leads the charge with command and charisma, but it’s Foster that really gives the film its beautiful and heartwarming edge. She’s so lovely and down-to-earth and yet so captivating in her depiction of unwavering and fierce loyalty and friendship; she is definitely the heart and soul of the film.

Filled with ambition, drama, loyalty, and love Nyad is a gorgeous film that tells an incredible story.

Director: Elizabeth Chai Vasarhelyi & Jimmy Chin (2023)

Cast: Annette Bening, Jodie Foster, Anna Marie Kempf, Johnny Solo, Eric T. Miller, Anna Harriette Pittman, Hanler Rodriguez, Carolyne McCormick & Rhys Ifans

The Iron Claw

Image credit: gatewayfilmcenter.org

It’s a really lovely experience to have an old fire of your character rekindled. Back when I was working at a Blockbuster (pause for marvel/lament at how long ago that was) I was all about movies. And as I grew up my love for cinema never really puttered out, but it certainly dimmed and for a while my absorption of new movies and writing my reviews waned. But my love for cinema and my ambition to go to the movies more has been rekindled with this new job, one of the perks of which is the occasional free ticket.

The delightful thing about a free ticket is that, even if it’s a film you don’t know much about or didn’t think you were that interested in seeing, it inspires you to go along because what have you got to lose? And then there is always the chance that you come out of the cinema in complete awe at the film you just watched. I had this experience over the weekend when I decided to make use of a free ticket and took myself to see The Iron Claw.

Based on a true story, the film follows the wrestling careers of the Von Erich family, a close-knit band of brothers who made history in the competitive world of wrestling in the 1980s. A love of each other and being in the ring together is what drives these four boys, but there is a dark side to their success. Pushed by their father who is driven by a fierce ambition, one by one the boys start to fall victim to the belief that their family is cursed and that their strong bond of brotherhood might not be enough to save them.

This is a fiercely provocative movie that tells a tragic story while simultaneously exploring the physical and mental strains and benefits of love, pack mentality, and the nuclear family. Against the super-charged toxic masculinity that is allowed to run rampant from scene to scene there is a beautiful depiction of male fragility and the need for camaraderie and brotherhood. Add the questionable relationships of the parents to their sons and this is a recipe for a compelling and heart-wrenching story.

The performances of the central cast are all incredible, each brother being endearing, flawed, and spiking our empathetic reflexes. Expertly devised shots give audiences enough time to anticipate what’s about to happen and thus be able to properly experience the shock and grief to come. Despite its sweaty, bulging, and gritty aesthetic, the various camera techniques as well as the general cinematography makes The Iron Claw quite possibly one the of most beautiful and strangely elegant films I’ve seen in a while. It has been a long time since I teared up in a cinema, but that drought has been broken thanks to this film.

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And then we can marvel at the fact that because this film is beautiful, compelling, and tastefully done, it inspires audiences to take a deep drive into a story that they may never had heard of. I am not a wrestling fan in the least, so I had no idea who these people were, but I am truly fascinated and compelled by their story.

If you are looking for a compelling, moving, and beautifully crafted film, I would recommend The Iron Claw.

Director: Sean Durkin, 2023

Cast: Zac Efron, Jeremy Allen White, Harris Dickinson, Maura Tierney, Hold McCallany, Scott Innes, Michael Harney, Stanley Simons, Ryan Nemeth, Cazzey Louis Cereghino, Lily James & Kevin Anton

Rocketman

Image credit: IMDb

After the success of Bo Rhap it seems that biopics about giants of music in the ‘70s and ‘80s have become a thing. Not at all a bad thing. The newest of these pics to take off has been Rocketman, the ‘musical fantasy’ about Elton John's ascent into rock ‘n’ roll orbit (and his sinking into a few black holes). 

Beginning (more or less) at the end, and told through a series of flashbacks, the film chronicles the troubled childhood of young Reginald Dwight, his discovery of a talent for music, and his journey to break into the industry. Staggering in to the spotlight all too quickly, Elton John’s (Taron Egerton) road to fame quickly becomes paved with emotional turmoil and narcotics addiction, and a tortured quest to find love becomes the only light at the end of a long, dark tunnel.

While the two are completely different films, if I had to draw a comparison between Bohemian Rhapsody and Rocketman, the latter is the winner. While (predictably) the central story of drug addiction and the quest to find love, identity, and self-respect is dramatised, some aspects being exaggerated and fictionalised for cinematic drama’s sake, I have to say that Rocketman is a better-made film than Bo Rhap (though the latter’s performances still take the cake).

More of a musical than a straight music biopic with the artist’s most iconic songs peppered throughout, the film is reminiscent of a number of Golden Hollywood musicals blended with the stadium-rocking scenes of Elton John’s legendary performances.

John’s most influential songs are used in the traditional way of the musical, during insightful or dramatic scenes and in the most normal of spaces. We’re talking Singin’ in the Rain-esque, with the occasional larger musical number thrown in a la Enchanted or Mamma Mia!. Funnily enough, these fantasy-musical scenes are blended beautifully with the rest of the film and its tone of straight-laced, dramatic biopic.

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Taron Egerton delivers a charismatic and memorable performance as the bedazzled icon himself, resisting the urge to be flagrantly queen-like, and instead depicting a tortured character that is repressed, shy, angry, and unstable in their own identity. The emotional story is quite a complex one and Egerton depicts it very well indeed.

Rocketman is definitely a film worth seeing. Fans of biopics, musicals, Elton John, or who have a vague appreciation of cinema in general will come out of the theatre with a little something to make their day richer.

Director: Dexter Fletcher (2019)

Cast: Taron Egerton, Jamie Bell, Richard Madden, Bryce Dallas Howard, Gemma Arterton, Gemma Jones, Steven Mackintosh, Matthew Illesley, Charlie Rowe, Celinde Schoenmaker, Stephen Graham, and Rachel Muldoon

Colette

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If history teaches us anything, it’s that we are bound to make the same mistakes over and over again until we simply stop making them. If you think about all the prevalent themes of today: namely regarding gender roles, toxic relationships, and what defines masculine/feminine, you’ve got to stop and remember that all this shit has happened before… and before, and before that.

With this idea in mind, I went and saw Colette today…

The film is based on the early life of French writer Sidonie-Gabrielle Colette. From humble beginnings as a country girl in Burgandy, Gabrielle (Keira Knightley) marries a famous Parisian writer (Dominic West), and then becomes engulfed in a toxic marriage in which her husband serially sleeps with other women, and convinces her to use her talent to ghostwrite novels under his name. She creates a semi-autobiographical novel, Claudine, which takes Paris by storm with her husband getting all the credit. Forced to keep up the charade, Colette becomes increasingly frustrated, both sexually and economically, and soon begins to fight to make her talents known, challenging society’s gender norms along the way.

This film is a modest, but wonderfully sincere, biopic that beautifully informs and engages audiences with a figure that they may or may not have heard of before. I admit I had no idea who this movie was about before I saw it and now I have to say that I am quite intrigued to see if I can track down some of Colette’s work for my library.

While the story is very simple in that it chronicles the foundation and eventual breakdown of a marriage, where the film sparkles is with its fascinating depiction of a toxic and creative marriage in the early part of the 20^th century. Set against the backdrop of Paris, which already boasts a certain sensual openness and libration, the entire film is a delicious peek through the keyhole into an intimate world and what’s most interesting about the whole thing is that there is a certain level of balance and love between the two parties.

Image credit: Luna Palace Cinemas

Keira Knightley plays the title role with a graceful force, innocently breaking glass ceilings through her fashion and determination to be seen as more than a wife. Hers is a story of identity as well as the remoulding of gender roles and Keira is mesmerising to watch.

Dominic West as Willy is witty, aggressive, and pretentious, yet despite openly being a right bastard and a very toxic narcissist, he does have this strange, endearing quality that somehow keeps the two together for the duration of the film. As he and Colette blur the definitions of infidelity, breadwinner, husband, and wife, Willy throughout the entirety does have this sincere streak of love that he holds solely for his wife and West plays the role so well that it’s kind of hard to completely hate him –even though it’s evident that he’s the bad guy.

Whether this is a play on social conditioning or just my delving deeper into West’s performance is anyone’s guess, but at the end of the day the two leads were wonderfully captivating!

Being a biopic and a period piece, I must draw attention to the fantastic achievements of the costume department. The costumes and makeup achievements were absolutely beautiful with Keira’s wardrobe being this seamless –pardon the pun- transition from feminine to masculine. Every scene she was in, she looked absolutely gorgeous!

Like Orlando or The Danish Girl, Colette has a certain je ne se quoi that keeps its audience captivated because it’s a depiction of something very ‘normal’, –a marriage- something that most of the audience can relate to, but at the same time it’s depicting a marriage that is unlike any that we can imagine. It just goes to show that when it comes to relationships, you never know what goes on behind closed doors.

Director: Wash Westmoreland, 2018

Cast: Keira Knightley, Dominic West, Fiona Shaw, Robert Pugh, Sloan Thompson, Arabella Weir, Mate Haumann, Ray Panthaki, Al Weaver, Dickie Beau, Julian Wadham, and Eleanor Tomlinson

Bohemian Rhapsody

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It’s been a few years in the making, but Queen fans have now been rewarded for their patience with the glorious, moving, and life-affirming spectacle that is Bohemian Rhapsody. Hitting cinemas last Thursday (Nov. 1^st) the film rocked the box office with $50 million in its opening weekend and continues to pull audiences of all ages. One friend of mine posted on Facebook a statement of pure pride and joy, as she overheard her 3 year-old singing along with the soundtrack, and I myself already have plans to fork out the money and see the film a second time!

While its true that you could make an entire movie about many phases of Queen’s journey to global domination; the making of A Night at the Opera alone could make for compelling drama, Bohemian Rhapsody is more of a summarised history of the band, starting with their humble beginning as Smile and chronicling everything from their creation of ‘Bohemian Rhapsody’, to their first American tour, and ending with their legendary performance at Live Aid in 1985. Running alongside the story of the band is the more dramatic story of Freddie Mercury (Rami Malek); a dramatised story of identity and the search for love, while being swept up in the world of fame and fortune.

It should come as absolutely no surprise that this movie, a classic biopic (though some of the chronology is a little out of whack and a 'tad' fictionalised), is completely driven by its characters and therefore, is all about the performances. And the performances were incredible! While the plot and film structure itself is a little jagged with all the best bits of Queen thrown together, rather like a greatest hits album, I think everyone is prepared to overlook that simply because the performances were all so captivating. I fell in love with Freddie all over again with Malek’s performance; everything, right down to the vocal tones, delivery, and mannerisms were spot-on and I do believe that a universal applause is to be paid to Malek because it really was like Freddie was back with us. I laughed, I cried, and throughout this entire film all I wanted to do was reach through the screen, take hold of this beautiful man and tell him how much he has meant to myself and millions of others. Rami, (if you ever read this) thank you, thank you, thank you.

Image credit: The Sun

While Freddie is arguably the star of the show, Malek’s performance is not the only one that deserves praise. The entire central cast were flawless and people who have seen footage and interviews of the members of Queen will believe that these guys are the real thing. Gwilym Lee as Brian May is as rational and gently spoken as the man himself, the spitting image too right down to the dimples when he smiles. Joe Mazzello as bass player John Deacon, had all the mannerisms down pat; silent and sometimes snarky, he even sounded like him! If there’s a weak member of the group, sadly it would have to be Ben Hardy who played Roger Taylor. Despite totally nailing the attitude (for Roger was totally the ‘bad boy’ of the group) and delivering some of the best lines to rival some of Freddie’s most memorable quotes, Hardy’s performance is the one that doesn’t quite get there –don’t get me wrong, he’s still amazing, but everyone else reached levels of uncanny likeness to their models, whereas Hardy’s was just close imitation. Still, it’s an incredible feat.

It has been a long time, too long a time, since I was truly moved and made to feel raw feelings of love, sadness, joy, and marvel and Bohemian Rhapsody broke that drought. Wide-eyed and teary, but smiling the entire way through, my movie experience was one of pure wonderment; I was held in complete awe of the power of performance, the music, and of course, Freddie’s voice. More than this, the film is an engaging exploration of belonging and finding one’s place in a big and (sometimes violently) boisterous world, something that gains more and more relevance every day. It’s actually impossible for me to put into words just how incredible and how wondrous I found this movie to be, the closest I can come to is asking you to imagine a balloon inside you swelling with emotions until it’s filled to bursting and fills every inch of your being. That was it.

I absolutely adored, proudly and completely ADORED Bohemian Rhapsody. Do yourself a favour and go see it!

Director: Bryan Singer, 2018

Cast: Rami Malek, Lucy Boynton, Gwilym Lee, Ben Hardy, Joseph Mazzello, Aiden Gillen, Tom Hollander, Allen Leech, Aaron McCusker, and Mike Myers

The Disaster Artist

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Nothing like having the flu as a means to catch up on your movie binging! In between sneezing and excruciating coughs that felt as though I was shifting around a mass of razor-plated gunk in my chest, I discovered that The Disaster Artist had made it onto Netflix Australia. I missed it at the cinemas and was intrigued by the story from the get-go so the other day I curled up in bed with my laptop and caught up on a missed opportunity…

Based on Greg Sestero’s non-fiction book of the same name, The Disaster Artist tells the story of the friendship between budding actor Greg Sestero (Dave Franco) and mysterious, arts-worshipper Tommy Wiseau (James Franco). The two meet in an acting class and before you know it, they are best friends moving to LA together to become big stars. While Greg gets an agent and continues to struggle for work, Tommy is told outright that he does not have what it takes to make it in this business and so the two decide to make their own movie. As a ‘screw-you’ to Hollywood, Tommy writes ‘The Room’ and, with a mysterious bottomless supply of money, hires a cast and crew to make one of the most celebrated ‘worst movies’ that the industry has ever seen.

At this point I am going to slide in a disclaimer: my experience of this movie was influenced and (one could argue) slightly tarnished by the state of mind I was in. At the time of watching The Disaster Artist, I am also midway through Clementine Ford’s latest book Boys Will Be Boys (a great read) and a strong chunk of the content of this film’s story disturbed me on a gender-political level. It’s not something that I’ll centre the review on, but it is something that I will bring up as it affected my filmic experience and does raise some disturbing questions about where society is at right now (especially in the movie industry).

In the wake of the Weinstein Scandal, I don’t know if you could argue that the film was doing this deliberately or not, but it openly refers to a very dangerous character/concept: the man with the camera. A significant portion of what drives the plot is Wiseau’s appreciation, nay admiration of good cinema and critically celebrated directors and, as a man with the camera, he models himself by the example of some pretty horrid role models: Alfred Hitchcock and Stanley Kubrick being two names openly praised. In terms of their relationship with women and film, I don’t need to explain why these are ‘trigger’ words. The Disaster Artists is a biopic, telling a true story with true characters, but more than that, it also depicts a poisonous attitude that exists within the creative world: that art is a get-out-jail-free card. While this is most explicit in a scene that involves the filming of a sex scene and Wiseau’s denigration of his female co-star, it’s not gender-sensitive, and you end up spending a large portion of the film suffering from internal haemorrhaging caused by the strain to suspend your disbelief. Why do any of the staff continue showing up for work?!

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It’s actually really hard to fathom this movie because on the one hand it’s a comedy-drama; satirical, but using a serious genre to be so. On the other hand the story depicts such a strange occurrence within Hollywood and there’s this vibe about it that is almost celebratory. It’s very conflicting.

James Franco’s depiction of Wiseau is captivating, but at the same time repelling; he plays a creep pretty well and the film totally gets points for the genuine way in which practically everyone –aside from Greg- reacts to him. The guy’s an enigma and, honestly, I think everyone in the film is too creeped out to deal with him for longer than they have to. So many facial expressions I saw on screen reacting to Franco reflected my own, so I’ve got to give him snaps for blurring that line between reality and the screen.

In a movie with ‘real’ characters where only one is the eccentric,  Dave Franco delivers a more or less believable performance. A buffer zone between Wiseau and the rest of the world, I can image the role of Greg is a toughie, sadly I felt that there wasn’t any rewards for his suffering and frustration and even his ‘dramatic’ confrontation with Tommy was kind of ‘eh’.

No doubt my lack of familiarity with the content came to bite me in the arse a bit here, but I feel like there was a lot happening in The Disaster Artist that convoluted the point. At the end of it all, that was my problem; I couldn’t actually see the point of this movie. Fair play to its Oscar nods and everything, but the story, the genre, The Disaster Artists is an acquired taste for which, I just don't have the palette. 

Director: James Franco, 2017

Cast: James Franco, Dave Franco, Seth Rogan, Ari Graynor, Alison Brie, Josh Hutcherson, Zac Efron, and Jackie Weaver

All That Jazz

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Many audiences may not necessarily know the work of Bob Fosse, but everyone sure as shit knows his name. It’s a name that has haunted musicals for decades, sparking images of total showstoppers that trade in the family-friendly colour and fun of the Golden Age and replaces it with the dark and seedy ‘dance macabre’.

All That Jazz is the captivating and intimately autobiographical movie that Fosse made shortly after recovering from open-heart surgery. The film follows Fosse’s chain-smoking, pill popping, womanizing alter ego Joe Gideon, a man so driven by his work he ignores all else: his daughter, his girlfriend, and even the alarming pains in his chest. Flashing backwards and forwards between his troubled childhood as a burlesque club performer and flirtatious backstage conversations with his personal angel of death, Angelique, the film is a captivating and alarmingly intimate look into the darker corners of showbiz and those struggling in its grip.

Competition, ambition, and the price of being a creative genius suck the life and colourful tone right out the title –which instantly makes one think of the roaring ‘20s a la Chicago- and replaces it with a jagged and glamour-less depiction of men and women crumpling underneath the weight of their careers.

As can be expected there are a number of truly memorable sequences in Fosse’s signature jazzy style dripping with blends of erotica and hidden characters; the most breathtaking of which is Joe’s hospital hallucinations as he contemplates his life while coming out of surgery starring his ex-wife, his lover, and –in a very mature performance to the point of being disturbing- his daughter.

Alongside the gritty story and the spectacle of the musical numbers are a series of gripping performances that elevate the piece to a most incredible work of musical drama. 

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The film won four Academy Awards and –for any buffs interested in the history of movie musicals- it’s been critically placed alongside Cabaret as the two best musicals in three decades. Dark, disturbing, and eerily prophetic All That Jazz is an incredible film.

Starring: Ray Schneider, Jessica Lange, Ann Reinking, Leland Palmer, Cliff Gorman, Ben Vereen, Erzsebet Foldi, Michael Tolan, Max Wright, William LeMassena, Irena Kane, Deborah Geffner, Kathryn Doby, Anthony Holland, Robert Hitt, and John Lithgow

The Danish Girl

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There are a number of reasons to admire biopics. 1) They tell dramatic and compelling stories –for the most part- that make for an engaging movie experience. 2) They provide a challenge for actors and are a great marker for talent. And 3) They are brilliant studies in character form. When I say form, I don’t simply mean physique, costume, or makeup, but rather the blend of those things as well as the smallest movements and gestures that go into creating a character. Tom Hooper’s The Danish Girl is a film that highlights all of these points, making it a biopic that everyone should see.

The film chronicles a fictitious love story loosely based on Danish painters Einar Wegener (Eddie Redmayne) and his wife Gerda (Alicia Vikander). Theirs is a happy and open marriage kept exciting by Einar’s occasional outings to balls and social events dressed as his female alter ego –Lili Elbe. But their relationship and love for each other is put under considerable strain when Einar makes the decision to live as a woman.

The Danish Girl was big news when it hit the Oscar Bait table. Not only is it a gorgeous period drama and biopic, it’s a period drama with a transgender protagonist. It’s true the story itself is not factually ironclad, –not always good news for a biopic- but I actually felt that writing a romantic drama around these characters was totally the right idea. What we are treated to throughout the entire movie is this beautiful depiction of true, undying love and it’s not so much the performances that spark the waterworks, but the sheer strain and drama of the story’s events. More than once you stop and ask yourself “how would I react if this was my partner” and it’s that fact that this movie inspires such questioning and contemplating that makes it so wonderful.

The complex themes of sexual identity, gender identity, and relationship identity are depicted and explored in a mesmerising swirl of beautiful period costumes, breathtaking art design, and simple but rich dialogue, keeping you hooked from start to finish.

Image credit: Women's Voices For Change

Standing strongly alongside the moving screenplay and wonderful cinematography are the knockout performances of both Alicia Vikander and Eddie Redmayne. Vikander is genuine and down to earth; that honest spirit that we all know and can count on to have our backs. Her performance is breathtaking –I’m honestly struggling to find words to describe it! A film about a transgender woman doesn’t immediately bring Eddie Redmayne to mind does it? Regardless his performance was beautiful: rich, heartfelt, and genuine. I don’t think you ever notice the difference in certain gestures or postures until you see them done by the opposite sex and Redmayne employs everything at his disposal from the incline of his head to the pressure of his fingertips to bring out this gorgeous femininity.

Between its beautiful love story, genuine characters, heartbreaking dramas, and tearful climax, The Danish Girl is a movie that really delivers the feels and while the plot is padded to the point of fictional, it still makes for a gorgeous movie!

Starring: Eddie Redmayne, Alicia Vikander, Adrian Schiller, Amber Heard, Emerald Fennell, Henry Pettigrew, Richard Dixon, Ben Whishaw, Pip Torrens, and Matthias Schoenaerts

Lady Bird

Image credit: Wikipedia

One reason why we love movies is because they offer an escape: a voyeuristic trip into somewhere else where we don’t have to deal with any problems or conflicts. Another reason is because they can illustrate complex ideas and concepts about life that we struggle with every day. Lady Bird is a film that falls into the latter.

The first major directorial gig for Greta Gerwig, Lady Bird is an autobiographical film that tells the story of Christine ‘Lady Bird’ McPherson (Saoirse Ronan) a teenaged girl growing up in Sacramento, getting through her final year of high school, and struggling to solidify her identity. As the prospect of college approaches Lady bird has big dreams of moving away and studying in New York, but her aspirations are limited by her family’s poor status and a turbulent relationship with her mother (Laurie Metcalf).

Lady Bird is a raw and subtle movie, but one that has a lot of power. While the story might seem tame on paper, watching it as it unfolds triggers all kinds of emotional responses because it chronicles an experience that we have all gone through and will continue to go through until we’re dust. When you’re on the cusp of adulthood identity is everything and of course you want to be the best, coolest, most successful person that you can be. But what if that version of you is unreachable? That’s the deeper conflict that this movie tackles; not just with the character of Lady Bird, but with everyone: her friends, her lovers, her family.

In terms of the writing, the main power of this movie does come from the screenplay. It’s a ferris wheel of emotion in that it doesn’t seem like a lot is happening, but all of a sudden you’ll feel nervous, or sad, or relieved and you won’t know how you got there. It’s raw, it’s genuine, and it’s beautiful.

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And the cast was absolutely perfect too. Saoirse Ronan was born to be the cool girl that didn’t think she was cool. As Lady Bird she spends her time in this movie trying to be a better version of herself in everyone else’s eyes as well as her own and it’s absolutely mesmerising to watch. She’s selfish, but at the same time she’s caring, and loving, and a large part of what makes the movie so powerful is her ability to play such a complex, but rich character.

Laurie Metcalf is the mother that we don’t necessarily want, but the one we really need. A breath of fresh air compared the edgier Oscar bait mums we’ve seen in Frances McDormand (Three Billboards Outside Ebbing, Missouri) and Allison Janney (I, Tonya) Metcalf is deep and seeing her interactions with Lady Bird are both beautiful and dramatic.

Lady Bird is a truly gorgeous movie: definitely one to see before the Oscars come upon us.

Starring: Saoirse Ronan, Larie Metcalf, Tracy Letts, Lucas Hedges, Timothee Chalamet, Beanie Feldstein, Lois Smith, Stephen Henderson, Odeya Rush, Jordan Rodrigues, and Marielle Scott

Chaplin

Image credit: Golden Globes

While cinema is pockmarked with thrilling biopics of Darkest Hour ilk, it’s interesting to think that there are some that just don’t make the grade. Whether by creative blunder or factual miscarriages there are some biographical features that just don’t seem to be as good as all the others.

Arguably a little dated, Chaplin chronicles the life of the silent film star. From his childhood in poverty to his talent in vaudeville before being swept up in the magic of the movies – and all that goes with it. Comedy, drama, scandal, and politics dogged Chaplin’s career from the beginning to its end, but cinema would not be what it is today with him.

Despite its myriad of wonderful performances, Chaplin feels like a haphazard biopic. The pacing proves a little bit hard to get the hang of: jumping from year to year, decade to decade and then shifting backwards all over again. And it seems that there were a lot of good ideas simply thrown into the mix that worked on their own, but didn’t do anything for the film in its entirety. Such humorous scenes as the sped-up illegal filmmaking in Salt Lake City though in keeping with the style Chaplin's famous Tramp protagonist were merely a breath of fresh air amidst the dramas that are happening simultaneously. The addition of Anthony Hopkins’ character –the fictional publishing editor conferring with an aged Chaplin on his autobiography- was a good idea in theory, but wasn’t entirely made the most of and didn’t serve a higher purpose than making time transitions and their content a little easier to grasp.

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However, the film is definitely not without its charm. Based on Chaplin’s own autobiography it proves to be a solid character movie and it was a film that earned Robert Downey Jr. a lot of critical acclaim before his drug-related episodes and relapses shook his career. Downey is wonderful as the film’s heart and soul and the extensive preparations he made for the role do shine through. He delivers a performance that is funny and vulnerable and he is believable at every age he plays.

Chaplin is a movie that celebrates a giant in the industry and whilst it’s not the most polished biopic in movie history, it’s still worth a look if you’re a study of the medium and those who have contributed to the magic.

Starring: Robert Downey Jr., Geraldine Chaplin, Dan Akroyd, Paul Rhys, John Thaw, Moira Kelly, Marisa Tomei, Milla Jovovich, Kevin Dunn, Diane Lane, and Anthony Hopkins

Darkest Hour

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There is always a place reserved at the Academy Awards for the dramatic biopic and this year the spot is taken by Joe Wright’s Darkest Hour –and with good reason. Alongside The King’s Speech, which won the Big One several years ago, this movie is an empowering depiction of a significant time in history and a superb, human portrayal of figures we only know from textbooks.

After Prime Minister Neville Chamberlain (Ronald Pickup) is forced to resign as the Nazis gain ground in Europe, the burden of fixing the problems on the warfront falls to Winston Churchill (Gary Oldman). Despite being distrusted by his own party Churchill steps up to the task, filling his cabinet with the cream of his rivals. His aggressive nature and powerful way with words gets barely keeps him afloat and all the while Germany’s voyage towards England increases with the last groups of Allied forces taking heavy fire at Calais and Dunkirk. With his own cabinet trying to remove him from office and his prior military history working against him on the battlefront, time is against Churchill to put the spirit of the fight in Parliament.

Without any argument the film is all about the performances. The story itself –though padded with some fictitious scenes such as Churchill’s conversing with civilians on the London Underground- is a simple retelling of a historical event and doesn’t really give us much in terms of surprise and wonder. Oldman’s portrayal of Churchill was epic –very deserving of its Oscar nomination. Even more so when you consider that he’s buried underneath a tonne of makeup. During his speeches he’s dramatic, aggressive, and empowering and in his more tender moments you completely forget about the cantankerous old man you met at the film’s beginning. He also manages to bring a level of comedy to the film, which alleviates a fair portion of the dramatic war-talk.

Image credit: Roger Ebert

The period aesthetic and cinematography itself is effective –though definitely not subtle- in creating a mounting sense of excitement and even patriotism and Dario Marianelli’s moving score of piano and strings was a key factor in raising these feelings.

While it hasn’t shown us anything new or cinematically groundbreaking, Darkest Hour is definitely deserving of the six Oscars it’s nominated for. Being first and foremost an actor’s film is never a bad thing and the superb cast is what made this movie alive and exciting.

Starring: Gary Oldman, Kristen Scott Thomas, Ben Mendelsohn, Lily James, Ronald Pickup, Stephen Dillane, Nicholas Jones, Samuel West, and David Schofield 

I, Tonya

Image credit: Wikipedia

The biopic or movie that chronicles some true event is an interesting venture for filmmakers to go on. On the one hand it’s a great way to recognise or introduce significant people into the world –maybe people we haven’t even heard of- and share their stories. On the other hand, it can be a risky venture depending on how ‘creative’ or truthful the adaptation is. Alongside Gary Oldman who is up for an Oscar for his portrayal of Winston Churchill in The Darkest Hour this year is Margot Robbie who is up for her portrayal of infamous Olympic figure skater, Tonya Harding.

This black comedy explores the inner workings of a story people have only theorised about and paints a picture of a woman being continuously screwed over. A talented and competitive skater from childhood, Tonya was the first female figure skater to perform the triple axle. With her talent and determination it seemed that she could have gone far. Despite suffering from an abusive relationship with her mother (Allison Janney) and her first husband (Sebastian Stan) Tonya’s career is set on the rise until her husband intervenes, forever associating her with one of the most famous scandals in sporting history.

Having had a day to think it over, I’m still not sure whether I liked this movie or not. It’s definitely not a film for everyone. To depict such a scandal as a semi-mockumentary is definitely a ballsy move and while –for the most part- this works in its favour, there are some places where the metafiction and fourth wall breaks can become jarring. Perhaps because the content is not as funny as that of Deadpool the same tricks that are used just don’t quite have the same effect –all the time.

Image credit: People

But structure aside, this is definitely a very thought-provoking film and creative character study. Most of the world probably doesn’t know the truth about Tonya as a person and not a media figure and the movie does a wonderful job of telling a very trying story about a woman who is getting screwed over by everyone. If it’s not the bashings from her mother and ex-husband, it’s the lack of support from her own country and the ridicule of sporting executives. Indeed the central damnation of Tonya is summed up in one scene where an official informs her that her crude redneck character is not what they’re looking for to represent America –it’s not just about the skating. Despite the vulgarity of her character, which Robbie portrayed really well, Tonya’s character is the one that we all cling to because she’s got something to prove. It’s a tremendous underdog story.

Then we have the performances. The fact that both Margot Robbie and Allison Janney are up for Academy Awards should say it all really –there seems to be a recurring theme with female characters this year. Alongside Frances McDormand for her vulgar and violent portrayal of grieving mother in Three Billboards Outside Ebbing, Missouri, Robbie is up for Best Actress as a woman both strong and weak and forever struggling to prove herself. Janney is up for Best Supporting Actress as the terrifying and unfeeling ‘mother’ that makes us want to crawl back into the womb.

There is a fun, but violent vibe to this movie and I would recommend you check out the trailer before committing to a ticket. But if you’re out on an Oscars catch-up before the ceremony, then I, Tonya is definitely an interesting ingredient thrown into the mix.

Starring: Margot Robbie, Sebastian Stan, Allison Janney, Julianne Nicholson, Paul Walter Hauser, Caitlin Carver,  and McKenna Grace

Year: 2017

The Greatest Showman

Image credit:Wikipedia

It’s the film that everyone’s talking about, the family musical must-see of the season. After having (finally) gotten around to watching it, I have to ask why is this?

The debut of Australian director Michael Gracey, The Greatest Showman is a semi-biographical musical about the life of P.T. Barnum, the iconic circus ringmaster of the 1800s. The film chronicles his ambition to create an anything-goes circus featuring a cast of unique stars including the Bearded Lady, Tom Thum, and the Dog Man. But the price of success is higher than Barnum ever imagined and soon his ambition is driving him away from his dreams rather than towards them.

To quote my friend fakegamerb0y, The Greatest Showman is a "Baz Luhrmann musical not done by Baz Luhrmann". Perhaps if Luhrmann had made it, it might have worked better. The film has a number of core problems, the biggest being that so much emphasis is put into the spectacle and the ‘showmanship’ of it that all three-dimensional characters and their arcs are sacrificed. The musical numbers are thrown in to further the plot seemingly without the understanding that there needs to be a plot already established to further. As it turns out, the only character given any real treatment is Barnum’s while everyone else stands behind him flatly commenting on the weather. There are a number of lines within the film that would have actually had an emotional impact if they had been backed up by any sort of character development, but as it happens the entire narrative progresses as spasmodically as its musical sequences only without the flair.

We have seen successful instances where a musical has been set in an earlier period and have a soundtrack of modern songs – Moulin Rouge! anyone? Sadly this film missed the mark. While the songs themselves were catchy and quite good, they were stagnantly out of place and contrasted against the period backdrop.

Image credit: Glamour

To give credit where it’s due this movie is called The Greatest Showman and that’s exactly what it is, a show. All emphasis is on the large musical numbers, frisky and enthusiastic choreography, and hair, makeup, and costume design. All of this made the film very pretty, a stylised and visual treat, but nothing more than a feast for the eyes that provides no further sustenance.

I will admit that there is a funny side in all of this. Despite the things that made this movie disappointing for me, The Greatest Showman has an ironic sort of mirror thing happening in that it’s the talk of the town, but not made up of anything culturally or critically artistic. The film’s protagonist himself said that people -whether they care to admit it or not- are drawn to the weird and the macabre –the fundamentally cheap or lowbrow and seeing as this movie is amongst the most popular films in cinemas right now, it’s obviously doing something right.  

Starring: Hugh Jackman, Michelle Williams, Zac Efron, Zendaya, Rebecca Ferguson, Austyn Johnson, Cameron Seely, Keala Settle, Sam Humphrey, and Yahya Abdul-Mateen II

Year: 2017