Black Bear (Lawrence Michael Levine, 2020) Review

Spoiler Warning: This discussion contains some spoilers. It could be an entire gag from a comedy or in-depth conversation concerning events in the second act.

Rating: 3.5 out of 5.
"You're really hard to read."

Lawrence Michael Levine’s indie darling Black Bear has been on my to-watch list ever since I saw the promo photo of a curled-up Aubrey Plaza on a river pier. I was not remotely prepared for just how weird things were going to get, and even if some of it doesn’t work for me, it’s impossible not to appreciate how this utilises its influences. This is an absolute whirlwind with heavy thriller aspects and meta-commentary that is still playing with my brain.

The film is ostensibly split into two halves, with a tiny extra bit, depending on how you want to interpret it. I loved the first of these two sections, which really plays on some uncomfortable notions. It transforms that horrible feeling where you’re present during a couple’s argument into an actual horror movie. Plaza’s Allison is placed at its core, despite being completely uninvolved in any of the conflicts until her involvement makes her the target of the discussion. It’s absolutely fantastic stuff that culminates in such an explosive manner; I almost wish it never ended.

However, the film goes in a completely different direction with its second half, opting to emulate Mulholland Drive’s oneiric qualities and split female personalities who seemingly overlap more than we first believed. Its final moments almost conclude the ideas that it has a little too neatly once you give it some thought, but there’s enough to play around with to make this a brain burner. What does that black bear represent? Why do things begin to differ in the closing act from how we would expect? It’s cleverly done.

Black Bear is a wonderful small-scale indie with monumental performances from Sarah Gadon, Christopher Abbott, and, most noticeably, Aubrey Plaza. The 100-minute runtime makes this next to impossible not to recommend. It’s not top of the list for thrillers I would recommend, but if you’re in the mood for something completely different than what you’re used to, Black Bear is the way to go. Write it down somewhere, it’ll creep back into your watchlist soon enough.


Seven Psychopaths (Martin McDonagh, 2012) Review

Spoiler Warning: This discussion features no narrative spoilers. You can see it as more of an objective take on the quality of the text in question.

Rating: 4.5 out of 5.
"Hey new idea how about we change the title from The 'Seven Psychopaths' to 'The Seven Lesbians Who Are All Disabled and Have Overcome All Their Spazzy Shit and Are Really Nice to Everybody and Two of Them Are Black'."

I’ve seen this film before, but it remains as enjoyable to this day as the first time I saw it. Martin McDonagh remains one of my favourite screenwriters in current cinema; his direction isn’t particularly refined or expert, but it is nothing offensive in the slightest. It is the unfiltered voice that drives this film to be so entertaining.

The performances are all great; Colin Farrell and Sam Rockwell are excellent in this film and very funny, in fact, I can’t really think of a performance I particularly disliked. I think the overall framing of the film, in relation to the battle between blockbusters and art-house cinema, being blended through subverted expectations and playful conventions is a personal niche.

Seven Psychopaths sits alongside In Bruges as another great McDonagh film and a total joy to watch; it’s one of those that’s very easy to re-visit as I’m sure I will.