Category: Reviews

Mank

Post author By Mark
Post date December 13, 2020

There’s a line fairly early on in David Fincher’s latest film Mank that sums it up beautifully: “You cannot capture an entire man’s life in two hours, all you can do is leave the impression of one”. The screenwriter is referring to the creation of the often quoted “greatest film of all time”, Citizen Kane but Fincher has also taken the phrase to heart, painting an incredibly detailed, complex and enthralling look at 1930’s Hollywood and the internal politics which plagued the studio system at the time. Aided by an Oscar-worthy performance from Gary Oldman, genuine technical wizardry that will make you believe you are watching a film from the 1930’s and a killer score from frequent collaborators Trent Reznor and Atticus Ross, this is a deep dive into one of classic Hollywood’s most notorious stories, told by someone with great affection for the material. That complexity becomes a hindrance for the film in spots, as the pacing of the film varies wildly and there are a few too many inside-baseball terms and references for the casual viewer, but those with even a passing interest in film history will likely love Mank.

The first thing that will grab you in Mank is the stylistic choice Fincher has made. This is a visually striking film, more so than any other modern film in recent memory, and one that wears its admiration and love for classic cinema well and truly on its sleeve. Outside of the obvious black and white presentation are the little things that Fincher and company have woven into the fabric of the film. The picture has a grainy quality to it (typical of classic cinema) with changeover cues (which signalled the changing of the physical film reel) and slight picture tears digitally added in to blend the film itself into the time period it is set in. The black and white also aids in conveying the multiple opinions expressed by the many different players in the film. The politics of Hollywood itself – combined with the larger political impact of the Depression and the war at the time – factor in prominently to the story being told and everyone’s opinion is slightly different on the spectrum between democrat and republican. The myriad of greys that constantly swamp the screen help reflect these varied responses to the world and the shadow or light Fincher chooses to bathe his characters in can often reflect their political views in relation to Mank’s personal views. The sound design also adds a lot here, with echoes to the dialogue indicative of the sound technology before digitisation as well as a typically incredible score from Trent Reznor and Atticus Ross which continues their winning streak of collaborations with Fincher, at once fitting right into the time period whilst sounding modern, with the slowly ticking, tension-inducing accompaniment to a climactic dinner confrontation a particular highlight.

In typically subversive Fincher-fashion, the director presents the story non-linearly. The overarching, framing narrative follows an older, injured Herman J. Mankiewicz (Oldman), who has been exiled to a remote cabin in Victorville, California by director Orson Welles (Tom Burke); free from politics, alcohol and any other distraction in order to complete the screenplay for the film that will become Citizen Kane. While here, Mank forms a bond with his typist Rita (Lily Collins), a young, idealistic British woman whose husband is fighting in the war. The Mank we see here is defeated; a self-proclaimed “washed-up” screenwriter who, at 43, believes he has wasted the talents of his youth and hasn’t achieved the greatness he was destined for. Oldman sells the world-weary side of Mank well. There is a tiredness to the man and it is immediately plain to see that he has gone through a hell of a journey to get to where he is at this point. The relationship he forms with Rita is touching and therapeutic for the both of them, as she learns to trust in the troublesome old man, discovering a kinder side that she didn’t believe was there, while he relishes the chance to initially torment but soon after banter with the young, switched on woman, a worthy opponent for his mental jousting that allows him to churn out page after page of script. It’s well done and simple enough to follow but these scenes are simply not as interesting compared to the flashback scenes of Mank’s heyday. Apart from a late encounter with Welles himself – played to perfection by Tom Burke – these scenes don’t crackle with the intensity that one would come to expect from a Fincher film.

Thankfully those flashback scenes are where the film soars. Written by his late father Jack Fincher, this is clearly a passion project for his son and it shines through in these frenetic, energetic scenes within the Hollywood studio system. The dialogue absolutely sings with the quick and witty back and forth between writers and studio executives almost too fast to follow at times. Mank, ever the socialite, runs through Hollywood like it is his own personal playground, and Oldman is simply thrilling to watch, expertly delivering line after line of lightning fast, razor sharp dialogue as he dips in and out of sets and executive offices at will, doling out words of advice and witty puns wherever anyone will indulge him. This fearlessness and need for attention serve him well when the screenwriter encounters newspaper baron William Randolph Hearst (played by Charles Dance and immediately familiar to fans of Citizen Kane and Rita, for bearing a striking resemblance to the tragic protagonist of Mank’s masterpiece) and his mistress Marion Davies (Amanda Seyfried). Hearst takes an interest liking to Mank’s refreshing willingness to express his opinions no matter the setting and as the screenwriter descends into Hearst’s circles, visiting parties and generally benefitting from his association with the tycoon, he strikes up an intense, platonic relationship with Marion. Amanda Seyfried gives a career best performance here as the actress who struggles with being known more for her relationship with Hearst than her actual talent and the scenes where she expresses this self-doubt to Mank are witty and moving, as she comes to accept her (admittedly still very well-off) lot in life.

Fincher surrounds Mank with a bevy of talent, with Arliss Howard a captivating villain as Louis B. Mayer, the famous head of MGM studios, harbouring a hatred for Mank’s unwillingness to conform to social conventions typical of the studio system. The pair have a brilliant back and forth, constantly taking shots as they encounter each other over the years, ultimately culminating in that aforementioned dinner confrontation that is surely the standout scene of the whole picture, a tightrope walk between tension and humour with a soul-crushing revelation to cap it all off. Tom Pelphrey is similarly excellent as Herman’s brother Joe Mankiewicz, constantly in his brother’s shadow and the less talented creative who has chosen a more business oriented life; he loves his brother but has grown weary of his antics. Rounding out the core cast is Mank’s wife Sarah, an extremely dutiful housewife who constantly supports her husband despite being viewed as a pushover by almost everyone around her for putting up with his constant drunken shenanigans. It’s something of a thankless role for Tuppence Middleton who doesn’t seem to play much of a role at first but who slowly becomes this incredibly sympathetic character as you develop this feeling of deep sorrow for her. She is an extremely selfless and loving person who has committed herself to this way of life and refuses to back down and Middleton owns the role, putting Mank in his place when necessary and stepping aside when she knows he is out of control; powerless to stop him from his attack on Hearst which ultimately costs him his position in Hollywood, prime for a come-back with Kane.

David Fincher’s 11th feature film is a labour of love. An ode to a classic time in Hollywood that he clearly cherishes; a family affair based on a script by his own father. It absolutely succeeds in glorifying the time period, providing a fast-paced, acerbically tongued world of powerful studio executives and prestige pictures. Oldman’s performance as the titular screenwriter is nothing short of amazing, crafting a complex, multi-faceted look at this complicated man who was loved and hated by many. While there is a distinction in quality between the present day and the far superior flashback storylines, with the pacing suffering because of it, the technical expertise and dedication to making the film look and sound as authentically 1930’s as possible never ceases to be spellbinding to look at. Unlike some of the other gems in Fincher’s filmography, Mank might not be as instantly re-watchable, but it is nevertheless a fascinating and rewarding film for lovers of cinema to sink their teeth into.

Mank stars Gary Oldman, Amanda Seyfried, Lily Collins, Arliss Howard, Tuppence Middleton, Tom Pelphrey, Tom Burke & Charles Dance – Streaming on Netflix now.

Tags Amanda Seyfried, Charles Dance, David Fincher, Gary Oldman, Lily Collins, Mank, Netflix, Tom Burke

Movie Reviews

The Witches (2020)

Post author By Mark
Post date December 10, 2020

There’s no denying that 2020 has been full of surprises. One of the more unexpected ones in the world of film may just be Robert Zemeckis’ latest feature; an adaptation of famous children’s author Roald Dahl’s The Witches. With a stellar cast and some top notch character design and effects work, the shock here is just how dark Zemeckis’ take on the source material turns out to be. Whilst The Witches may look like a fun family adventure from the outside, it veers into the macabre and horrifying side of Dahl’s world on several occasions, as the demonic Grand High Witch attempts to turn all the children of the world into mice. That jumbled tone between family friendly and horror makes for a particularly uneven viewing experience but one that also offers a ton of fun for bigger kids and adults if you can put up with some kiddy cheesiness and one hell of a showboat performance from Anne Hathaway.

Hathaway’s Grand High Witch is the leader of a particularly anti-children coven of witches, hell-bent on turning all the little tots into mice by way of the particularly wordy “Formula 86 Delayed-Action Mouse-Maker” potion. While it works in the confines of the story most of the time, be warned, this is a ridiculously over the top performance, as if Hathaway was on a personal mission to make sure her performance would be remembered over Anjelica Huston’s 1990 original. We’re talking a ludicrous accent wavering somewhere between German and Swedish, screeching in a register that would likely cause tinnitus from prolonged exposure and some truly horrifying visual effects which rival the original film’s incredible prosthetics to make the Witch look truly disgusting. Hathaway’s performance at once seems comedic, with the accent and some so-overt-they’re-covert jokes about her cat, but once the hunt for children gets going and the action starts to pick up it takes on a much more horrifying presence. There’s nothing quite like the sight of Anne Hathaway’s arms stretching to ridiculous lengths to ensnare a child to really give you nightmares.

That movement between the comedic and horrifying permeates the entire film and may have something to do with the extremely varied group of writers that penned the film (albeit likely different versions which have been combined). Kenya Barris (of Black-ish fame) and the great Guillermo del Toro share writing duties with Zemeckis here, and once that little fact is known it becomes immediately obvious where their influences have been taken. Del Toro’s signature gruesome spectacle and horrifying character design shines through in the witches themselves. The grand reveal of the witches’ true forms showcases some exceptional visual effects and character design which carry the horror maestro’s fingerprints. We’re talking knobbly feet without toes, three fingered clawed hands and mouths that elongate to reveal rows of razor sharp, demonic looking teeth. Hell, even the expanding nostrils of the witches, which are used for sniffing out children, are terrifying to look at. It’s all far too much for little children to take which begs the larger question of who exactly this film was made for?

Barris’ influences shine through in the development of our young, unnamed lead protagonist (Jahzir Bruno) and his Grandmother (Octavia Spencer). Almost the entire opening hour is devoted to establishing the relationship between this young boy and his only remaining guardian, herself almost a victim of witches in her youth who has studied the sneaky sorceresses in the years since. It works well to invest you in this young child’s terribly misfortunate life so far, so much so that you genuinely feel sick at the thought of him having to now deal with witches after everything he has been through. The relationship between the boy and his Grandmother is also incredibly sweet, based on love and the strict values of respect and obedience typical of Alabama in the 1960’s, with Spencer showing a fierce maternal instinct for her grandson. Bonded together by circumstance, the grandmother struggles to bring the boy out of his shell following some traumatic events and the thought of losing him to witches is enough to cause sheer panic and a stay at a palatial nearby hotel to escape the witches she believes are in her town.

Once here, the boy soon realises that the witches are not in their town and that the hotel is unwittingly host to a gathering of their ilk from all over the state. When the boy and his newfound friend Bruno Jenkins (Codie-Lei Eastick) are transformed into mice by the coven, they team up with the boy’s pet mouse Daisy (Kristin Chenoweth) – herself a former child turned by a witch – and his grandmother to put a stop to the broom-riding baddies and their nefarious plan to transform all the children of the world into mice. Zemeckis further muddies the tone by filming the affair with bright, vibrant colours; an overtly positive outlook shining through in every scene despite the more horrific moments. There are moments of sheer zaniness that lend themselves well to that kid-friendly tone, often involving Stanley Tucci’s woefully unprepared hotel manager Mr. Stringer. These scenes are pure fun, even if they are a bit childish, often leaving you with a huge grin on your face. The hotel itself is often shot from a child’s perspective, emphasising the enormity and foreignness to the boy from a small-town. This only increases once he becomes a mouse, leaving the now doubly gigantic area to take on a more comical tone, with scenes in the kitchen area in particular looking like a live action Ratatouille.

The Witches is a particularly wild ride I will not soon forget, chiefly due to the sheer bizarreness of it all. What could have been a fairly tame family affair is given a potentially unwelcome bend by leaning into the macabre and terrifying attributes of the titular villains. While this works for those old enough to cope with the more horror-leaning aspects, it may alienate a lot of children, arguably the primary audience. Anne Hathaway’s nostrils expanding to the size of a small dog is an alarming sight – even for an adult – and will almost certainly ensure nightmares for little ones. If you do have bigger children though, or are just after a zany, whacky adventure with some genuine heart that occasionally steers into a more mature scariness, then give The Witches a go. It’s so crazy you might think you’ve been put under a spell yourself.

The Witches stars Anne Hathaway, Octavia Spencer, Jahzir Bruno, Codie-Lei Eastick, Kristin Chenoweth & Stanley Tucci – In Australian cinemas now and streaming on HBO Max in the US.

Tags Anne Hathaway, Octavia Spencer, Robert Zemeckis, Stanly Tucci, The Witches, Warner Bros

Movie Reviews

Happiest Season

Post author By Mark
Post date December 4, 2020

’Tis the Festive season and what better way to start it than with the fantastic new Christmas romantic comedy Happiest Season. The sophomore directing effort from Clea DuVall (who you may know as stoic FBI agent Marjorie from Veep) is chock full of Christmas spirit and timely queer commentary; equally hilarious and emotionally impactful thanks to wonderful performances from an all-star cast led by Kristen Stewart and Mackenzie Davis. While it may lean into some rom-com tropes a little too heavily, the abundance of charm and the genuine investment in the characters DuVall creates makes it easy to forgive these minor imperfections and appreciate this soon-to-be modern Christmas classic.

Abby (Stewart) and Harper (Davis) have been going strong for a while now, and are at the point where Harper thinks it is finally time to introduce her long-term girlfriend to her family. What begins as a well-intentioned, spur-of-the-moment invitation soon turns to anxiety for Harper – who has yet to come out to her otherwise oblivious family – prompting her to ask Abby to pretend to be her roommate until she plucks up the courage to reveal her secret. Once the couple arrive at the Caldwell residence, we are given a tour of this unusual family through the eyes of Abby (our audience surrogate) as she is introduced and begins to get a clearer picture of the quirky dynamics at play. Ruled by snobbish, overbearing parents Ted (Victor Garber) and Tipper (Mary Steenburgen) are the sisters of Harper: Jane (Mary Holland) and Sloane (Alison Brie), who in turn commands her husband (Burl Moseley) and two children with an iron fist.

DuVall’s excellent script (which she co-wrote with Mary Holland) instantly establishes each family member of the familial unit; identifying their own specific quirks and challenges to overcome. It goes a long way towards making everyone feel like real (if overly quirky), fully fleshed-out people and establishing their specific relationships with Harper. Sloane has been knocked down the social ranking of daughters by her parents for prioritising her children over a successful law career, vaulting Harper into the favourite position and causing some serious tension and resentment. Meanwhile the eternally positive Jane has clearly been in her position at the bottom of the pecking order for a while, abused by the entire family and meeting it all with sheer optimism (and some hilariously overbearing mannerisms). This entire dysfunctional family synergy is due to patriarch Ted’s pursuit of political power, a path which has led him to present an extremely conservative public image; one that Harper fears will never recover from her true sexuality being exposed. It is this fear that causes Abby to agree to the ruse, but as things become increasingly complex and confusing, the relationship begins to strain and Abby must decide whether to wait for the woman she loves to publicly accept her or leave it all behind and move on.

From a story perspective this is your typical “getting to know the folks” comedy. Meet the Parents wrapped up in copious amounts of tinsel and Christmas cheer. What differentiates it from other comedies of the sub-genre is the richness of the world around the Caldwell clan. Aside from the central family, DuVall fills the screen with one interesting or hilarious character after another, with all the pop-ins and interactions serving to either alienate Abby further from this change in her environment or give her some respite from the stress of the trip. One of DuVall’s Veep co-stars (I won’t spoil it) crops up for a scene as a mall security guard that will have you in stitches. Similarly Aubrey Plaza delivers great, albeit slightly less sarcastic work than usual (sorry Parks and Recreation fans) as Harper’s ex-girlfriend and an unusual ally for Abby. It’s a far more meaty role than the security guard but one that still feels a little underdeveloped and convenient. Riley’s character delivers a different angle to the queer experience that is important to point out, but the film never really chooses to focus on it too deeply; wrapping everything up in a neat little package without ever fully unwrapping it in the first place.

The performances are where Happiest Season excels the most. Kristen Stewart leans into the emotional side of her character, exposing a vulnerability that some viewers may not have thought her capable of. Her usual laid-back, grounded acting style goes a long way here to offset the zaniness of the Caldwells and makes her the perfect window for the audience to view these bizarre Christmas events. Mackenzie Davis’ Harper gets a little bit less to work with in regards to screen time but makes up for it with a richly layered performance. Her story will be familiar to so many within the queer community and the struggle she goes through is as emotionally devastating as you would expect.

The standouts here are without a doubt Mary Steenburgen and Dan Levy. Steenburgen steals every scene she is in as Tipper, constantly berating her daughters with scathing comments about their life or fashion choices as she struggle to document the Christmas season on her newly created Instagram. There is a charm that offsets all the nastiness and you feel that her criticisms come from a place of love; that she is unable to express herself in a positive way and Steenburgen is hilarious in the role. Similarly Dan Levy acts as Abby’s confidant and guide through the trip’s events, dishing out laughably terrible life advice and constant reminders that he is tracking her every movement. Levy doesn’t get a lot of screen time but makes a huge impact on the film; the best sidekick from afar since Lil Rel Howery in Get Out.

Happiest Season is the film equivalent of a cup of hot chocolate at Christmas time. A warm and comforting film that brilliantly captures the highs and lows of the queer experience of coming out whilst being absolutely hilarious and a top notch romantic comedy in its own right. The whole cast is utterly fantastic, with not a weak link in sight and the smatterings of genre tropes and undercooked storylines are more than made up for with the charm and heart of Clea DuVall’s fantastic script. If you were looking for a new Christmas classic to revisit every year, look no further as you’ve found not only that, but one of the best films of 2020.

Happiest Season stars Kristen Stewart, Mackenzie Davis, Alison Brie, Aubrey Plaza, Mary Holland, Victor Garber, Dan Levy, Burl Moseley & Mary Steenburgen – Streaming on Hulu in the US and in cinemas everywhere else now.

Tags Alison Brie, Aubrey Plaza, Clea DuVall, Dan Levy, Happiest Season, Kristen Stewart, Mackenzie Davis, Mary Holland, Mary Steenburgen, Victor Garber

Movie Reviews

Hillbilly Elegy

Post author By Mark
Post date November 29, 2020

As the poster for his latest work says, Ron Howard has made many great movies – A Beautiful Mind and Apollo 13 to name a few. On the other hand, films like The Dilemma prove that some of his work does fall below average now and then. His latest Netflix produced feature, Hillbilly Elegy, sits squarely in the middle; a stock-standard awards-bait drama that doesn’t really have a lot to say other than some fairly rote dialogue about the lower class having to rely on tough love to get through their troubles. The acting is typically great from veteran performers Amy Adams and Glenn Close, but outside of that the film never finds a groove or a spark to get things moving in a way that is unlike anything you’ve seen before in a thousand “just fine” dramas.

Our guide into this backwoods American world is young J.D. Vance (Gabriel Basso), third generation in the Vance clan on the cusp of escaping his lower class roots and achieving great things at Yale law school. Just as he begins to take that education to the next level through legal internships, he’s drawn back to his old home of Ohio by the news that his mother Bev (Amy Adams) has relapsed and overdosed on heroin. With a day before a pivotal interview, J.D. heads home to assist his sister Lindsay (Haley Bennett) in finding the Vance matriarch a rehabilitation facility. During the trip J.D. begins to reminisce about his childhood in Ohio; where he struggled with abuse at the hands of his mother, eventually moving in with his grandmother Mamaw (Glenn Close) to complete his schooling. As J.D. comes to understand his mother and grandmother’s own struggles from the past, he begins to forgive them for their weaker moments and thank them for the lessons he has carried through to adulthood.

The biggest issue here is just how scatterbrained and non-focused the story seems. Howard seems unsure whether to focus on the drug addiction Bev struggles with, the poverty which has impacted the Vance family or J.D.’s attempts to escape his past, ultimately touching on all of them but never taking that deep dive into a central story to carry us through the film. J.D.’s journey back to Ohio is constantly interspersed with flashback scenes of him as a young child (played by Owen Asztalos) wherein we see these pivotal moments in the young man’s life that have prompted him to strive for a better future. Only there seems to be one pivotal moment that really sparks a change, and it is about as contrived and convenient as you can get, with the last 20 minutes of the film tying the flashbacks and modern day story together. All the earlier flashbacks, you then realise, serve no purpose other than showcasing some stellar acting. Bev’s drug addiction storyline has a lot of potential and Adams is totally locked in and committed to the character, but there just isn’t much commentary on addiction that hasn’t been seen before. It is ultimately a cycle with Bev in its clutches and J.D. helpless to aid her. The place where the film leaves her character doesn’t at all tie up with the pre-credits text (detailing the real Bev’s progress) and serves to leave the whole storyline seeming unfinished.

The characterisation of J.D.’s mother and grandmother are excellently brought to life by Adams and Close – no doubt about it they should (and will likely) be in contention for the big awards come Oscar season. The prosthetics and makeup work on Close alone is phenomenal and only once you see footage of the real Mamaw in the credits do you understand just how picture perfectly accurate she looks. Amy Adams swings for the fences in every scene, showing some real humanity and light in her eyes in the quieter moments, which is often overshadowed by the rage and craziness that ensues when her drug habits kick back in. These scenes are great to watch, just to see actors of this caliber giving it their all. When the mother and daughter do eventually face off it is electric, dripping with unbridled anger and tension as you expect the situation to devolve from a heated argument to fisticuffs at any moment. The issue with a lot of these scenes is that they don’t add much to the overarching story of J.D. other than to say he comes from a place of violence and is used to “tough love”.

That phrase really seems to be the hill that Hillbilly Elegy dies on. That no matter how badly you are treated and how dire your circumstances, the people in your family love you regardless. That is all well and good but the film has a hell of a way of showing it, especially in the turn of Glenn Close’ Mamaw, who for so much of the film is the understanding shoulder J.D. cries on when his mother is out of control, but who, when J.D. goes to live with her, turns into the very thing he was running from. Tough love is hard to express when there doesn’t seem to be much “love” involved. Screaming and beating your grandson isn’t all forgiven because you walk away and smile to yourself because he passed a maths test and he happened to see you. Ultimately Howard ends the picture with some optimism and hope that things will turn out alright for J.D. (which they have in reality) but one small, minutes-long montage scene hardly makes up for the previous hour and a half of deeply unsettling viewing. This isn’t something you would throw on for a relaxing Sunday afternoon watch, it is a hard, exhausting watch of the realities facing the lower class who aspire to realise the “American Dream”.

Every year there seems to be one or two awards contender films that only really seem present because of the phenomenal performances of the talent involved. Hillbilly Elegy falls squarely into that category, with some solid, if unremarkable, directing from Ron Howard and a fairly rote, paint-by-numbers plot that is buoyed by absolutely brilliant turns from Amy Adams and Glenn Close. While it is worth a watch for these performances alone, Hillbilly Elegy will soon fade out of memory, similar to the way it asks you to forget that child abuse is a bad thing for two uncomfortable hours of your life.

Hillbilly Elegy stars Amy Adams, Glenn Close, Gabriel Basso, Hayley Bennett, Owen Asztalos & Freida Pinto – Streaming on Netflix now.

Tags Amy Adams, Freida Pinto, Gabriel Basso, Glenn Close, Hayley Bennett, Hillbilly Elegy, Netflix

Movie Reviews

Possessor

Post author By Mark
Post date November 28, 2020

All great films start with a concept. That initial hint of originality that sparks a great story and demands to be seen on the screen. Brandon Cronenberg’s (son of the great David Cronenberg) latest feature Possessor has one of the most insanely original concepts I’ve heard of in recent memory: assassins with the ability to meld their minds with civilians to carry out hits on targets close to them. Stop me if you’ve heard that one before. Unfortunately, Cronenberg doesn’t seem all that interested in exploring the potential of that idea and the impact it could have on the world, instead choosing to focus on an overly complex story of one particular assassin and the toll repeated trips into other people’s sub-consciousness’ have taken on her mind. From a technical perspective it is rock solid; the visuals all have a distinct sci-fi dystopian flair, the score is synth and electronic heavy yet still manages to be incredibly creepy and the performances are all top notch. Where Possessor fails is in its slow, almost crawling pace and its inability to choose an agenda and stick with it.

Now bear with me here as I try to explain this bonkers plot. Tasya Vos (Andrea Riseborough) is a top assassin working for a company that specialises in untraceable hits. They do this by melding Vos’ consciousness with that of an unsuspecting civilian close to the target, ingratiating her into that person’s life for a few days and then exacting the kill so as to look like a random act of violence or a psychotic break. Prolonged use of this mind-melding machine has made it harder and harder for Vos to separate her own consciousness from that of her many targets and makes reintegrating herself into her family life – with son Ira (Gage Graham-Arbuthnot) and husband Michael (Rossif Sutherland) – between jobs incredibly difficult, worrying both her and her handler Girder (Jennifer Jason Leigh). There is clearly something wrong with Vos’ head when she receives her latest assignment; dispatching multi-million dollar data mining company CEO John Parse (Sean Bean) and his daughter Ava (Tuppence Middleton) by controlling her boyfriend Colin Tate (Christopher Abbott) and capitalising on John’s dislike and abuse of Colin. Once in Tate’s body, Vos begins to realise the depth of her problems as he fights back for control, ripping and tearing the pair’s minds until a bloody showdown ensues for supremacy.

Phew. Now with all that happening, you would think that the film needs to move at a brisk pace to get through it all. Not so. Possessor is about as slow as a “slow burn” film can get, as Cronenberg meanders through scene after scene intent to linger on shots of faces and extreme violence. It doesn’t seem all that bad until the film takes a rather strange turn into the workings of Parses’ data mining company, where row after row of workers are strapped into eyewear which allows them to see through cameras inside people’s homes to suggest products they might need. An interesting concept that looks into our modern fear of the invasion of privacy in the digital age, but one which doesn’t seem to fit within the film and is never mentioned again. Its only purpose seems to be for some overtly creepy scenes as Vos (inside Tate’s body) lingers on people in their most intimate moments. Not something that endears you to a character, especially one that is supposed to be our lead into this confusing and different world. Likewise in scenes where Vos is going through the motions as Tate getting to know his routine. We’re forced to sit through scene after scene of Tate looking around confused, perplexed by the fact that water is blown off his hand by a hand dryer. I get that she’s in a different body but does skin not work the same? If the purpose of these scenes is to disrupt the normal movie viewing experience and make audiences feel uneasy in their own heads like Vos then that is certainly achieved, even before the frankly unsettling scenes where Vos and Tate swap genitalia.

The central conceit also falls apart in making the audience care about any of the characters. Vos seems cold and detached from the moment we meet her and is only made to feel less dependable as her memory is tested to ensure her mind is intact. From here we are introduced to her family but we never really get the sense Vos cares for them and her mind may even think they are the family of one of her victims. Once Vos enters Tate’s mind it becomes even more difficult to get attached. You can’t connect to Tate, played by Christopher Abbott, as he is not actually in control and Vos’ increasingly bizarre actions in his body are specifically engineered to give the impression that the man is having a nervous breakdown. When Vos picks a fight with Ava’s father at a party it doesn’t hit that this man is abusing Tate in the same way that it would if Tate was in control of his body. Vos is simply using this fact about his life to engineer a crime and in framing the plot this way Cronenberg never gives us as an audience anything to grasp onto. By exorcising Vos from her family you take away her only real human element, leaving the whole film feeling hollow and detached like the characters within that do such terrible things.

David Cronenberg is known as a pioneer in cinema for the way he pushed visual effects and the horrors you could present on-screen – most notably the incredible practical effects used in the Jeff Goldblum-led The Fly. The younger Cronenberg seems intent on making his own mark on cinema in the same fashion, by presenting the extremely unsettling images I mentioned before as well as some truly disturbing and graphic violence. The visual on the poster of a man wearing the face of a woman is featured prominently towards the end of the film and is a brilliant visual representation of the internal mental struggle happening on-screen. There is no gore here, it is just a simple mask that tells us all you need to know about Vos and Tate’s struggle. Unfortunately it is the only such example as the rest of the film features teeth bent out of people’s mouths and eyeballs popped from their sockets in sickeningly slow, up-close sequences. It adds nothing to the film other than shock value and shows a lack of understanding of the elder Cronenberg’s use of gore. The Fly was about a man who risked everything for the science that he loved and his slow descent into a hideous creature is a visual representation of the toll this obsession has wreaked on his life. Possessor is just gore for the sake of it.

Despite this, Cronenberg does succeed in the technical aspects of the film. Most of the visuals (excluding the disturbing ones I mentioned before) are suitably high-concept and paint a cold, detached world that matches the characters that inhabit it. Shots are often flooded with a brilliant hues of pink and red, giving the whole scene a menacing tone – indicating the bloodshed to follow – and it looks fantastic. Likewise the scenes where Vos melds minds with her target are suitably crazy, with flashing images of plastic heads melting and screaming faces visualising the anguish the procedure takes on the assassin. They look almost like an experimental film in their madness but it goes a long way to sell the experience without having to spend a huge budget, until Cronenberg gets a bit carried away with it towards the end of the film and it turns into something of an epileptic nightmare. There is a wholly original, genuine sense of tension that Cronenberg does craft on occasion, in watching Vos attempt to slip into someone’s life without being caught out. It plays a bit like a very serious, high stakes reversal of Freaky Friday and gives the audience some feeling other than disgust and boredom, if only for a few minutes.

Possessor is a film I have no desire to ever see again and one that I can’t recommend to many people. If you like incredibly complex, violent and slow sci-fi horror, then this is for you; go ahead and enjoy. For most audiences though, this is going to be far too much to handle, as Cronenberg refuses to give them anything to latch on to with distant, irredeemable characters that do terrible things. With some films I often wonder what it would be like to watch them again for the first time; to jump into their head and experience the first terrifying roar of the T-Rex in Jurassic Park or the lightsaber ignite for the first time in Star Wars. With Possessor I almost long to go into the head of someone who didn’t see the film, if only to get the disgusting imagery out of my head for a moment or two.

Possessor stars Andrea Riseborough, Christopher Abbott, Jennifer Jason Leigh, Tuppence Middleton, Rossif Sutherland, Hanneke Talbot, Gage Graham-Arbuthnot & Sean Bean – In select cinemas now.

Tags Andrea Riseborough, Brandon Cronenberg, Christopher Abbott, Jennifer Jason Leigh, Possessor, Sean Bean

Movie Reviews

Palm Springs

Post author By Mark
Post date November 25, 2020

Andy Samberg is one of the strongest voices in the modern comedy scene, having built a cult following on Saturday Night Live for his zany digital shorts and transferring that into superstar appeal with police comedy Brooklyn Nine-Nine. Even given all that talent and success, the thought of mixing his quirky, over-the-top comedy with the plot of Bill Murray’s Groundhog Day is something of a tough sell. What could Samberg possibly bring to the table that wouldn’t feel like a cheap imitation? I’m happy to report that the answer to that question is “a hell of a lot”. Palm Springs is Samberg’s best performance to date – with the funnyman digging into a dramatic side most audiences wouldn’t think he had – in an extremely charming, funny and surprisingly deep journey to find purpose in a life that is only ever lived for one extremely repetitive day.

Sandberg plays Nyles, a cynical alcoholic forced to relive the wedding of Abe (Tyler Hoechlin) and his girlfriend Misty’s (Meredith Hagner) best friend Tala (Camila Mendes) on a loop, thanks to an ill advised trip to a nearby cave in the idyllic Palm Springs desert. With Nyles slowly descending into a pit of laziness and despair, all seems lost until he woos Tala’s sister Sarah (Cristin Milioti). When an incident results in Sarah following Nyles into the time loop cave, she finds herself stuck in the same cycle, cursed to relive not only the wedding, but some incredibly personal and destructive secrets. As Nyles spends more and more time with Sarah he rediscovers his lust for life, falling head over heels as he learns just how important connection is to the human experience and how essential Sarah’s company has become. Hanging over Nyles’ head this whole time is the ever-present threat of Roy (J.K. Simmons), a fellow prisoner in the time-loop with a vendetta against Nyles, constantly on the hunt to capture, torture and kill him in ridiculously over-the-top ways.

What is most surprising about Palm Springs is just how well the film balances the zany, quirky comedy with the more poignant, dramatic moments. Scenes where Nyles and later Sarah get into all sorts of nonsensical shenanigans are just as hilarious as you would expect; from stealing and crashing a plane to choreographing entire, overcomplicated dance routines. A lot of these sequences are carried out through the use of montages – riffing on Groundhog Day and other 80’s comedies – but a surprising amount of character development is snuck in to these scenes; as the increasingly strange pranks bring Sarah’s previously high-strung, self-loathing personality in line with Nyles’ carefree outlook on life, as she learns to not take herself too seriously. Nyles in turn realises the impact that surrounding yourself with good people can have on life and begins to open himself up and share with Sarah. When the comedy simmers down and the dramatic scenes rise to the forefront, you understand perfectly where these people are at in their relationships and care that much more about them when the eventual spanners are thrown into the works late in the film. It’s a credit to director Max Barbakow that these montage scenes – a technique generally written off as filler – say so much without exposition dumps or otherwise contrived rom-com tropes.

A huge chunk of that credit also goes to Samberg and Milioti, who prove to have tremendous chemistry together as they bounce off each other with sharp-tongued jokes and smart-assery. Samberg definitely gets his Jake Peralta moments in here, going into comedy overdrive with his trademark exaggeration and face pulling. It works here as well as it works in Nine-Nine with several grand moments that have Nyles taking centre stage at the wedding and making a giant fool of himself. The time-loop conceit provides a fresh canvas for Samberg and Milioti to go as big as they want time and time again, as no one from the wedding actually remembers anything they have done previously – to hilarious effect. Milioti proves herself a more than worthy scene partner for Samberg’s antics, matching his intensity and sometimes surpassing it as her reaction to her predicament is much newer and less measured than Nyles, who has been stuck for an indeterminately long period. Likewise, she handles the dramatic moments excellently. The character of Sarah is saddled with far more baggage than Nyles and Milioti’s raw and genuine performance goes a long way to keep the character charming and likeable, even after we discover her past mistakes.

Outside of the strong performances and constant stream of jokes, what you’re left with is a fairly standard romantic comedy plot, following most of the genre’s typical twists and turns to a conclusion you can pretty much guess a mile off. It’s not a dealbreaker by any means as the film does a hell of a lot to differentiate itself from the rest of the pack, but at the end of the day you’re not going to be blown away by some pivotal twist at the eleventh hour. It’s also slightly disappointing that the film features such a phenomenal supporting cast of comedic talent who never truly get a chance to shine. Connor O’Malley and Chris Pang get a few solid laughs as a groomsman and officiant respectively (the sight gag of Pang’s outfit alone is gold) but nothing that resembles any sort of character development. Likewise Meredith Hagner’s Misty is incapable of taking any responsibility for her terrible actions against Nyles, a plot thread which pops up a few times and always seems like it is being built up for some larger arc for her to reflect on herself, but which never arrives at any payoff. Again, the film is clearly centred around Nyles and Sarah so this isn’t a huge surprise, but it would be nice to see more from these young comedic talents. The only side-arc that gets any closure is J.K. Simmons who is perfectly cast as the overly aggressive and misunderstood Roy. Drawing on his experience as the always angry J. Jonah Jameson, Simmons goes to some pretty dark (yet funny) places in his quest for revenge before ultimately finding peace in his predicament, giving the character a nicely cathartic send-off.

Andy Samberg has come a long way in his comedic career and it has never been more apparent than in Palm Springs, a film that is so endlessly watchable thanks to its clever blend of sci-fi, humour, heart and Samberg’s career-best performance. Cristin Milioti is an excellent scene partner for the SNL veteran and the pair’s chemistry and banter is so good that it becomes easy to overlook the fairly paint-by-numbers plot and the underuse of the film’s smorgasbord of fresh young comedic talent. Despite its similarities to Groundhog Day, Palm Springs manages to be just as essential to the romantic comedy genre, a modern twist that takes the concept and repurposes it for a new generation in hilarious fashion. Like its time loop premise, this is a film that you’ll be watching again and again for years to come, hell I’ve watched it twice in the few days it has been out already.

Palm Springs stars Andy Samberg, Cristin Milioti, Meredith Hagner, Peter Gallagher, Tyler Hoechlin, Camila Mendes, Chris Pang, Connor O’Malley, Dale Dickey & J.K Simmons – Streaming on Amazon Prime in Australia now and on Hulu in the US.

Tags Andy Samberg, Cristin Milioti, J.K. Simmons, Meredith Hagner, Palm Springs, Peter Gallagher, Tyler Hoechlin

Movie Reviews

Freaky

Post author By Mark
Post date November 14, 2020

It really has been a good year for horror. In a time where the future of cinemas are extremely unsure, one genre has been consistently pushing out films to the big screens and on-demand. Without the clutter and competition in the multiplex, 2020 has allowed for smaller, lower-budget horror fare to be seen by bigger and bigger audiences. The latest scare-fest Freaky, starring Vince Vaughn and Kathryn Newtown, hails from fear factory production studio Blumhouse and is an extremely unexpected and excellent little slasher film; full of heart, laughs and gore in equal measures. Directed by Chris Landon, who helmed the similar horror-comedy Happy Death Day films, Freaky is a far more successful mash-up of the genres; chock-full of inventive kills, creepy scares and some hilarious body-swapping antics.

In a riff on the classic Freaky Friday formula, we follow Millie (Newton), an ordinary, if somewhat dorky girl who is bullied at school and has a hard time expressing her feelings for her crush Booker (Uriah Shelton). Millie’s home life is a mess due to the recent passing of her father and the constant bickering between sister Charlene (Dana Drori) and their mother (Katie Finneran) that has sprung up as a result. When Millie is left stranded at a local football stadium, she falls prey to local serial killer The Blissfield Butcher (Vaughn), an encounter that involves a magical dagger which causes the Butcher and Millie to switch bodies. Now a wanted criminal, Millie (in Vaughn’s body) must enlist the help of her two friends Josh (Misha Osherovich) and Nyla (Celeste O’Connor) to track down the killer impersonating her and reverse the curse before midnight strikes and she is stuck as the feared felon forever.

Freaky is an extremely fun horror film and it knows it. Landon wisely steers clear of playing the situation straight and has a lot of fun with the material in meta ways, with many obvious homages to Scream – perhaps the greatest slasher film of all time. While it doesn’t hit that level in terms of originality as the plot plays out pretty much exactly the way you would expect, the film keeps you engaged with the hilarious and surprisingly endless novelty of Vince Vaughn playing a teenage girl. He is truly excellent here, unexpectedly menacing and imposing as the Blissfield Butcher and equally charming and funny when embodying Millie’s character. There’s something so off-putting yet bizarrely entertaining about Vince Vaughn twerking and that general tone and charm of the character continues right to the very end. When he is in full serial killer mode, the choice has been made to keep Vaughn silent, and it works wonders towards making the traditionally comedic actor appear genuinely terrifying. An opening murder spree sets up the character’s viciousness and bloodlust early on and that transitions into the other excellent performance of the film belonging to Kathryn Newton.

Newton’s role is smaller in terms of screen-time sure – as once the switch happens we don’t spend nearly as much time with her during her silent stalking of fellow student – but she is no less impressive. Once the Butcher becomes accustomed to his new body, he begins to view the students of the school as his own personal buffet of potential murder victims and Newton goes to town in these scenes, hamming it up where necessary but maintaining that cold, lifeless gaze that Vaughn originated. Her role too gets a surprising amount of laughs as she constantly finds herself up against larger victims and, not fully coming to terms that she is now a five-foot teenage girl as opposed to the hulking Vince Vaughn, is thrown around like a rag doll again and again to hilarious effect. Thankfully this leads to more inventive kills, as Newton’s killer character can’t rely on brute strength to eliminate her victims. There are some truly great kills in Freaky that rival the great slasher films, hell some of them rival the ridiculously over-the-top Final Destination films, with one early kill in particular giving me an unexpected fear of the murderous uses for a wine bottle (trust me you won’t guess it).

Where the film falls down slightly is in its plot. There are some loose rules given to the body switching antics that don’t really make sense and it is never explained where these rules actually come from except for a lazily thrown in Google search. Surely if your life depended on it, you could do a bit more research than Google? There are also a few plot-holes here and there that the film asks you to look past in order to progress the plot, but these are easy to forgive when the film is as fun as Freaky is. At this point, plot holes that allow the killer to continue to wreak havoc seem to be a staple of the slasher genre and at least these ones come with some pretty hilarious gags.

These gags are generally led by the duo of Osherovich and O’Connor as Millie’s friends Josh and Nyla. The chemistry and banter between the two is great and crackles with youthful energy. Josh in particular gets some of the best lines in the film and will have you howling with laughter almost as much as Newton and Vaughn’s antics. While Josh and Nyla are fun characters, they aren’t particularly well developed, with no character development other than the fact that they are best friends with Millie. The heart of the film lies in the relationship between Millie, her sister Charlene and their mother in coming to terms with their different approaches to the death of the family’s patriarch. Where Charlene has thrown herself into her work, Millie has become more introverted and their mother has become smothering to Millie by day and a low level alcoholic by night. The chemistry of the trio is rock solid and there are some surprisingly deep and touching moments between Finneran’s matriarch and Vaughn’s Millie that really help to deepen Millie’s character and your investment in her survival.

Who would have thought that a body-switching horror film starring Vince Vaughn as a teenage girl would be one of the most fun horror films of the year? I sure didn’t but hey its 2020, anything can happen. Freaky is an absolute delight, a manic little slice of pulpy slasher madness with excellent performances, interesting characters and side-splitting humour filled with some truly inventive kill scenes and genuine heart. With most films of other genres choosing to skip the cinema this year, the door is open for horror to step up and lead the charge and Freaky does just that, delivering one of the most enjoyable theatre-going experiences you can have right now – if you’re willing to brave a trip to the cinemas and live with the sight of Vince Vaughn twerking burnt into your retinas.

Freaky stars Vince Vaughn, Kathryn Newton, Misha Osherovich, Celeste O’Connor, Dana Drori, Katie Finneran, Uriah Shelton & Alan Ruck – In cinemas now.

Tags Blumhouse, Chris Landon, Freaky, Kathryn Newton, Vince Vaughn

Movie Reviews

Saint Maud

Post author By Mark
Post date November 10, 2020

Religious horror is a staple within the genre, with stories of demonic possession and satanic cults playing on our inherent fear of the divine for years to often terrifying results. Debut filmmaker Rose Glass’ film Saint Maud takes that tried and tested religious archetype and adds something new to the mix, crafting a taut psychological thriller with a spiritual underscore to thrilling effect. This is a film that will have you thinking and talking about it for days after, a hauntingly chilling portrayal of blind faith and the powerful effect religious devotion can have on a tormented soul. Led by a career-defining performance from Welsh actress Morfydd Clark, with stunning cinematography and a bone-chilling score, Saint Maud is one of the best psychological horror films in recent memory, an extremely impressive and original debut that you should seek out as soon as possible if you consider yourself any sort of a horror fan.

Maud (Clark) is in between jobs. Waking up in her depressing single room apartment in a quiet seaside English town, thinking about her mysterious and violent past, she begins to pack for her new role as a live-in nurse for Amanda (Jennifer Ehle), a former professional dancer now confined to a wheelchair due to a crippling spinal cancer diagnosis. Maud’s employment immediately marks a change for Amanda, as the recently converted nurse suggests she invite God into her life and atone for her sins in order to be welcomed into the afterlife. Amanda, looking to make Maud feel comfortable, indulges her rather innocuous requests to pray before meals and discuss faith every now and then. However before long, Maud has taken her duty of care to the next level, becoming obsessed with saving Amanda’s soul; as if this was a role assigned to her by God himself. As Amanda’s patience with Maud’s faith begins to slip, Maud’s attempts to convert her become increasingly violent and deranged, as the young girl’s grip on reality begins to slip on the way to an explosive finale.

Saint Maud lives and dies on the strength of Morfydd Clark’s performance – we see almost all of the events of the film from her point of view – and what a performance it is. This is one of the creepiest, unhinged performances I’ve seen in a horror film, perhaps ever, as this seemingly ordinary if slightly overzealous girl descends into complete insanity over the course of 90 minutes. Clark’s performance is incredibly physical, as she feels God “inside her” contorting her body into strange, inhuman positions, signs that he has a greater plan for her beyond the palliative care she otherwise deems beneath her. By taking the audience into her mind and allowing them to see the world through Maud’s eyes, Glass gives us a window into the madness that this newfound devotion to God has wreaked on Maud’s psyche. She truly believes she communicates personally with God, punishing herself for sins committed by walking on tacks and burning her hands on stovetops. When Amanda insults her faith there’s a murderous glint in Maud’s eyes; a hint of madness that makes you wonder just when this powder keg of a girl is going to explode.

When she does crack it is glorious in all the best ways that horror villainy can be, with Glass playing with the perception of what is real from Maud’s point of view in a way that will make you question everything you have seen and which Maud uses as justification for the extreme violence she undertakes. We hear a disembodied voice we are meant to believe is God and see hints of real life devilry like Maud’s mouth unhinging in demonic fashion, but are never sure whether the supernatural is at play or these horrors are simply within Maud’s head. Whatever the case, it is certainly real for her and Glass chooses to shoot these scenes in the same way as the rest of the film so as to blend the real with the imagined; there is no obvious sign or a different lens given to the more supernatural sequences.

Speaking of imagery the whole film looks fantastic, with cinematographer Ben Fordesman adopting a gritty, almost grimy filter at times to show just how down and out Maud’s character is within the world; as she prays in her filthy, barebones apartment and traipses through dimly lit, disgusting alleys on her way to Amanda’s plush, luxurious abode. Scenes are shot within Amanda’s house using the same gritty style, perhaps to draw similarities between Amanda’s dire situation in her physical battle with cancer and Maud’s own mental and spiritual struggles. Scenes where Amanda, ever the socialite, finds solace in other people’s company are lit warmly, often by a fire that brings a red hue to the surroundings; a possible allusion to the demons Maud believes she has seen in Amanda and her sinful sexual encounters and alcohol abuse.

Jennifer Ehle excels as the other half of this titanic clashing duo, bringing a world-weariness and cynicism to the role that starts as empathy for this girl she believes to be pathetic and lonely but quickly turns to contempt and snark once Maud begins to overstep her boundaries as a nurse. One scene in particular really allows Ehle to go for it as she twists the knife into Maud, insulting her religion and calling out her faith as misguided. You can see Amanda relishing in making this girl hurt after suffering through the cancer; a rare moment of control in a world where she is now unable to perform even the most basic tasks of self-care. Music also plays a pivotal part in distinguishing these two individuals, with lively records constantly being played in Amanda’s house in comparison to the wonderfully dour and chilling score of Adam Janota Bzowski which underpins Maud’s horrifying actions. It may be somewhat reminiscent of Bobby Krlic’s Midsommar and Colin Stetson’s Hereditary scores but for good reason; that eerie, atmospheric sound with sudden percussive blasts and screeching strings is extremely effective in delivering spine-tingling chills.

Saint Maud is another haunting addition to production company A24’s growing portfolio of existential, atmospheric horror. Superbly made from a technical standpoint and anchored by two dynamic performances from Morfydd Clark and Jennifer Ehle, this is an equally fascinating and terrifying look into the mind of a severely damaged young woman whose devotion to her faith has taken her down a violent path. What begins as a creepy, atmospheric psychological thriller takes a turn to the supernatural as the religious forces of good and evil begin to take on a physical presence, leading to a final showdown and final scene that will be etched into your retinas long after you leave the cinema. Rose Glass makes a strong first impression here with one of the best horror films, not only of this year but of the last ten; a terrifying experience that you should immediately subject yourself to.

Saint Maud stars Morfydd Clark & Jennifer Ehle – In cinemas in limited engagements now with a wide theatrical release yet to be announced.

Tags A24, Jennifer Ehle, Morfydd Clark, Rose Glass, Saint Maud

Movie Reviews

The Trial of the Chicago 7

Post author By Mark
Post date November 6, 2020

America has been in an interesting state this year. From the devastating impact of the pandemic and its mismanagement by the government to the recent Black Lives Matter protests and rise of white supremacists, it seems as if the country was on the brink of collapse. It seems almost too good to be true then that Netflix’s latest film The Trial of the Chicago 7 released when it did, tapping into the country’s fear of racial discrimination and police brutality in a way that perfectly captures the public’s fury at the horrifying events which have plagued the country. Written and directed by master scribe Aaron Sorkin, the film tells the story of the 1968 Democratic Convention riots in Chicago and the subsequent trial of the seven individuals charged with inciting the riots, with dialogue only he could pen, crackling with intensity and urgency. Beyond the writing, the film also features some incredible performances from the entire cast including Sacha Baron Cohen, Eddie Redmayne and Frank Langella (to name a few) which should make it a sure-fire contender come Oscar season.

For those who don’t know the story of the Democratic convention riots, the film does a good job early on to introduce you to the many elements and characters that led to the ultimate violent clash between protestors and police. At the height of the Vietnam War, three protest groups in America – all seemingly independent yet aware of each other – agreed to demonstrate against forced conscription by rallying in Chicago’s Grant Park. Once the police arrive and things get out of hand, chaos erupts, ultimately leading to the arrest of eight men: Tom Hayden (Eddie Redmayne), Rennie Davis (Alex Sharp), Abbie Hoffman (Sacha Baron Cohen), Jerry Rubin (Jeremy Strong), David Dillinger (John Carroll Lynch), John Froines (Danny Flaherty), Lee Weiner (Noah Robbins) and Bobby Seale (Yahya Abdul-Mateen II), the leader of the Black Panthers. The trial that ensues is anything but ordinary, a farcical mess thanks to the clearly prejudiced presiding Judge Julius Hoffman (Frank Langella), leaving defence attorney William Kunstler (Mark Rylance) little recourse in his fight for justice; essentially handing the win to prosecution lawyer Richard Schultz (Joseph Gordon-Levitt).

While it does take some dramatic liberties with certain aspects of the story, Sorkin’s script is a masterclass in engaging, fast-flowing dialogue. The few scenes of action are very well shot, with Sorkin showing an eye for fast, frenetic paced chaos but it is the dialogue that is utterly spellbinding and will have you glued to your seat throughout the entire trial. Rarely do courtroom films feel so alive and full of energy, with each outburst from the judge or one of the defendants adding an extra layer to the trial and further stacking the deck against the Chicago 7. It might not be entirely realistic for the court to be so lively but Sorkin writes with such passion for justice that it is extremely hard not to get invested, as Kunstler desperately attempts to make Judge Hoffman see reason and that Bobby Seale’s rights are being infringed upon. Seale is the only accused not to be represented by Kunstler (hence it not being the Chicago 8) and his back-and-forth with Judge Hoffman is magnificent, filled with rage and mutual contempt. It has been a good long while since I have been as invested in a film’s courtroom case as much as this one, and it is clearly an area that Sorkin thrives in, following A Few Good Men and The Social Network’s equally arresting trials.

A good script is nothing without actors to bring it to life and Sorkin has assembled a veritable smorgasbord of talent here to do it. Eddie Redmayne as Tom Hayden is the perpetually unsure yet resolute champion for civil rights revolution through non-violent, legal means. Redmayne fluctuates between remorse for the riots that he may have had a hand in starting and confidence that – once they bite their tongues and win the trial – they can continue to make strides towards civil rights change. You can feel the internal conflict within Redmayne; moving between nervous looks and hard unblinking gazes that underly the terror he feels at the thought of going to prison. Sacha Baron Cohen’s Abby Hoffman, on the other hand, does not share this same view, perpetually confident that the trial will be the loud, public spectacle that will bring worldwide attention to the civil rights injustice in America and willing to sacrifice himself for that ideal if need be. The not-so-subtle jabs he and the equally great Jeremy Strong shoot at Judge Hoffman are particular highlights; moments of levity and humour that give the audience a respite from the bleak outlook of the trial. As the trial wears on, Abby’s confident façade begins to fade, a weariness settling over him and a fear that the trial will not actually change things. Baron Cohen’s performance is excellent, playing not only to his comedic strengths but also his outspoken political ideals (just look at his Borat sequel); a winning combination that may just net him a well-deserved Best Supporting Actor nod.

Frank Langella threatens to outshine them all, however, as the aggressively one-sided Judge Hoffman. The man embodies the worst traits of the upper class; snubbing his nose at the “hippy” Chicago 7 and denying them their due process in the system. It’s a performance that, on its surface, works to make you absolutely loathe the character and get you completely behind the Chicago 7, but Langella goes a step further, giving the Judge perhaps a hint of Dementia or some other illness as he stumbles through speeches at times, contorting his face in odd expressions and ignoring the rigid rules of the court in order to espouse his own opinions. It works to ground the character as a relic of a time gone by and a physical embodiment of the pro-Vietnam sentiment that the protesting defendants are up against. To this man, not enlisting is one of the most heinous crimes that can be committed, regardless of the reasoning, and no force on earth will stop him from convicting these men.

The Trial of the Chicago 7 is an incredibly timely film. One that will have you in a blind rage at the injustices you are seeing, made all the more potent by the contemporary comparisons that can be made. Aaron Sorkin’s writing is as excellent as ever, if a little bombastic at times, but it does the trick to get you so completely behind these eight men that have suffered such injustice. With excellent performances from the entire cast and some spot-on costuming and set design that will have you thinking you’ve been transported to the 60’s, this is an absolute home-run of a film for Netflix; a serious awards contender that deserves the praise that is being heaped on it and the best film of the year so far.

The Trial of the Chicago 7 stars Eddie Redmayne, Sacha Baron Cohen, Frank Langella, Mark Rylance, Jeremy Strong, Joseph Gordon Levitt, Yahya Abdul-Mateen II, Alex Sharp, John Carroll Lynch, Ben Shenkman & Michael Keaton – Streaming on Netflix now.

Tags Aaron Sorkin, Eddie Redmayne, Frank Langella, Jeremy Strong, Joseph Gordon Levitt, Mark Rylance, Michael Keaton, Netflix, Sacha Baron Cohen, The Trial of the Chicago 7, Yahya Abdul-Mateen II

Movie Reviews

On the Rocks

Post author By Mark
Post date November 4, 2020

There’s a classic episode of The Simpsons where Homer is tasked with telling a few jokes at a birthday party, an opportunity he jumps at. When the party hits a snag and the announcement of a puppy’s death is made, Homer, still expected to perform, gamely hits the stage with a booming “ARE YOU READY TO LAUGH?”. He is met with a scathing response. “Be quiet, you awful man”. That’s kind of what it feels like watching Sofia Coppola’s latest dramedy On the Rocks, a film which takes one of the greatest comedians of all time in Bill Murray and completely wastes his talent, giving him constant streams of (admittedly excellent) heavy dramatic dialogue with barely a hint of his signature whimsy. This dramatic side of On the Rocks is top notch, with Oscar-worthy performances. However when your film is being sold as the breakout comedy of the year, audiences might expect, you know, a good joke or two, which On the Rocks sadly fails to muster.

Coppola’s exploration of the father-daughter bond is told through the eyes of Laura (Rashida Jones), a doting mother and writer in a creative rut, who feels like she is drifting from her husband Dean (Marlon Wayans) and begins to suspect he is having an affair with a co-worker. Naturally rattled and unsure how to handle the situation, Laura turns to her wealthy playboy father Felix (Bill Murray) for advice, a move which may result in more than Laura bargained for as Felix fills her head with all sorts of reasons that Dean is cheating, pulled from his own less than reputable experiences. What starts as a pursuit of Dean to catch him red handed gradually becomes a bonding experience for Laura and Felix, leading to a pursuit for answers to questions Laura has long buried as the father and daughter’s relationship fractured over the years.

Right away the set-up is comedy gold. You have Bill Murray going to (what you would think would be) increasingly zany and wild lengths to catch Dean out. After all this is the man who repeated a certain Groundhog Day hundreds of times with some pretty whacky results. It becomes immediately apparent that Coppola is not concerned with this approach to the story and that is fine. She sets up the film erring on the dramatic side with a few chuckles from Murray as the relationship between Laura and Felix is established. All is well, the good jokes must be coming. Except they never really do as the film races through its brief 90 minute runtime. Nothing in On the Rocks is ever laugh out loud funny. The only scene that comes close involves Murray talking his way out of a speeding ticket, with hints and flashes of his signature style shining through before being quickly locked away just as he is about to be let completely off the chain.

No, this is not a film of wild adventures, this is a film of conversations. Murray and Jones in a restaurant discussing her childhood while he absentmindedly discusses his sexual conquests. Murray and Jones in a car discussing caviar and her sense of displacement in her world. Sadly the dialogue doesn’t crackle with intensity like say The Social Network does and the consistently heavy discussions begin to grate after a while. It’s not bad by any means but Coppola seems to think that simply having Murray in a scene will bring some levity to counterbalance the weight of the conversation and it does to a degree – Murray can’t help being naturally funny and charming even when he’s not trying – but it just isn’t enough to stay the monotony at points, despite the excellent performances.

That is where On the Rocks makes up (mostly) for its shortcomings. It’s hard to excuse the lack of comedy when you are billing your film as a comedy but the dramatic performances that we get from Murray and especially Jones are astounding. This is hands down the best performance of Rashida Jones’ career, heartbreaking and raw in all the right ways, as she imbues her character with an empathy that immediately makes her relatable and an excellent heroine for the audience to root for. We have all been in tricky spots and creative ruts in life and her performance understands this on a deep level. We see the despondency and frustration in her eyes as she does the school run each morning, listening to the other mothers problems, never exposing that vulnerable side and talking about her own issues. It is only once she starts these adventures with Murray that she is truly able to express her concerns and worries about where her life is headed, slowly coming to realise that Felix might not be the best person to take relationship advice from but that he is a complicated and misunderstood man who deserves a second chance. It’s a truly next-level, understated performance from the actress that deserves at least an Oscar nomination.

Telling you to watch On the Rocks is a hard sell. I mean, how likely are most people to go and see a Bill Murray film in which he gives you nothing more than a quick chuckle? Oh did I mention there’s some heavy emotional drama to offset that lack of comedy? No, if there is anything to sway you into watching Sofia Coppola’s film it is the performances, which are exceptionally good (particularly Jones) and will likely find their way into awards contention come Oscar season. If you’re looking to sink a little further into that pandemic depression then give On the Rocks a go; otherwise maybe stick to something a little more optimistic and lighthearted in these troubling times? I hear the new Borat is good.

On the Rocks stars Rashida Jones, Bill Murray & Marlon Wayans – Streaming on Apple TV+ now.

Tags Apple TV+, Bill Murray, Marlon Wayans, On the Rocks, Rashida Jones