Spoiler Warning: This discussion features some important narrative information that could spoil the text for you. It does not necessarily spell out the film’s conclusion, but it does talk about events in detail.
⭐⭐⭐⭐
Rating: 3.5 out of 5.
"No games. Isn't that what you wanted?"
Mimi Cave’s feature debut, Fresh, has been something I wanted to watch since the Sundance hype and the generally favourable response from critics and audiences alike. It’s almost impossible not to make a pun about this being a refreshing thriller/horror, however you want to describe it. It’s searingly funny, genuinely creepy in spurts, and most vitally, it is so so entertaining.
If Lenny Abrahamson’s Normal People wasn’t enough, this will most certainly be the project to make Daisy Edgar-Jones explode into the mainstream. She is just wonderful here; she absolutely nails the tone that Cave is creating with this biting black comedy bobbing underneath the surface of a cannibalistic horror flick. Sebastian Stan, too, is basking in this flamboyant villainy, dancing through hallways and smiling at sickening ideas. Everyone else is fine, but you’re here for Edgar-Jones and Stan, who have great chemistry together and light up the screen, whatever the tone may be.
I love the narrative; I’m not saying it’s groundbreaking, but I have never seen an idea like this before, and I like the weird Satanic avenue it takes to explain its ludicrousness. Again, I think it importantly gets the vibe right with its jaw-dropping title sequence at the thirty-minute mark and stark shift from downscale romance to visceral horror-comedy. I could eat up another fifteen minutes of those stomach-churning dinner dates the two have, somehow enthralled by the power dynamic struggle whilst also laughing intensely at the offbeat black comedy in the conversation.
Fresh gets it all right. Mimi Cave creates a visually stimulating movie and delivers on a concept that could have been such a bland, ordinary horror by making it truly innovative and exciting to experience. It reminded me of Ready or Not in some ways – maybe just the high standards and similar tones – but it’s not a bad thing at all. I highly recommend this one; it’s supreme fun.
Spoiler Warning: This discussion has very few spoilers: some set up from the first act, a general idea of the narrative at hand.
⭐⭐⭐
Rating: 3 out of 5.
"Serving God doesn't feel like it should be a money-making opportunity."
Following the Oscars last night, I realised I’m quite far behind on seeing all the nominees – particularly in the Leading Actress category. I think Jessica Chastain is brilliant, and her long-overdue win drew me to The Eyes of Tammy Faye. In the end, that’s pretty much what you’re signing up for here – the Jessica Chastain (and Andrew Garfield) show in a lukewarm film of another mildly famous American television celebrity.
I really don’t have all that much interesting to say about this one if I’m being transparent. The film won both awards it was nominated for last night with Leading Actress and Make-Up and Hairstyling, which are the two precise things that this film does best. The prosthetic work on Chastain gets more impressive as the film carries on, as it does for Garfield also. It’s often like looking at different people, and though I had no prior reference of Tammy Faye and Jim Bakker, their rise to prominence and shifting visual presentation felt vital to the story this film tells. Chastain kills the leading role – taking on a character of this kind screams for showy, loud acting, and she more than delivers. I adore all of here musical interludes, particularly the balls-to-the-walls all-American rendition of Battle Hymn of the Republic.
The Eyes of Tammy Faye tells an interesting tale but has very few interesting ways of telling it. I wish Showalter had a little more exuberance and excess in his direction to parallel his characters, but he relies a little too heavily on his performers to make a lasting impression. This is, by no means, even close to a bad film, and it’s a more effective, fun Oscar drama than Being the Ricardos, but I don’t know that it will ever be remembered anything more than that. It goes on a little too long, attempting to do a little bit too much with Tammy Faye than it necessarily should, but it is worth watching for Chastain regardless.
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: 4.5 out of 5.
"I'm shy about my new muscles."
Wes Anderson’s latest live-action cinematic venture comes a full seven years after The Grand Budapest Hotel and still three years after the animated Isle of Dogs. Needless to say, that’s far too long for my liking – I’ve missed that Andersonian je nais se quois in my life (hence the constant reviewing of The Royal Tenenbaums). The French Dispatch is an outstanding adventure and is a true delight to see on the cinema screen. It’s the 100 minutes that you’ve been waiting for to get you back in a theatre; the small screen won’t do this the justice it deserves.
It starts at optimum Wes Anderson, not daring to ease you into the pastel symmetry and rhythmic pacing that has become synonymous with Anderson. Indeed, the single shot of a revolving tea tray having different breakfast delicacies placed on it may as well have his signature in the corner. It’s really great to have that visual trademark, though, especially if it’s appealing to you. It’s like coming home and finding your favourite dish on the dinner table, freshly prepared for you. How could you say no? The general introduction to The French Dispatch itself is a wonderfully amusing and tantalising watch with instantly likeable performances by the likes of Bill Murray, plus quirky dialogue left, right, and centre.
The opening section with Owen Wilson’s Herbsaint Sazerac is a nice little introduction to the fictional French town of Ennui that allows Anderson to play with split-screen, direct address to camera and vibrant, colourful locations. It’s a noteworthy opening and sets the mood for the magazine format of the film as certain sections run far longer than others. On that note, it is where my most formidable gripe with the film comes from, as the anthology like format means that you don’t get the connection with any one character you would usually get from an Anderson picture. There is no possibility for an “it’s been a rough year” moment because we never spend enough time with one person to gain that kind of emotional relationship. It also doesn’t help that the intention is to make each section feel like it’s from a different writer because the film’s overall vision is very much that of Anderson and his distinct visuality. However, do not let this distract from the fact that it doesn’t take much away from the overall product – it’s still a beautiful time.
The first segment, entitled The Concrete Masterpiece, is perhaps my favourite of the three larger stories. Benicio del Toro puts in a relatively insane performance that you can’t look away from, and Adrien Brody makes the most of a pretty small role – maybe the best in the entire film. I also have to mention Léa Seydoux as she is just as excellent as the others here. Most of all, though, this benefits from the screenplay by Anderson, which is full of amusing dialogue playfully entwined with the cinematography and editing. Entire sequences in this segment have more energy and innovation than entire movies. It’s thoroughly enjoyable and digestible, as almost all of Anderson’s work is. I adore the playfulness with colour that persists throughout the film, but it is at its very best here. The brief glimpses of the artwork in colour are glorious, and Anderson knows exactly when to cut to a different angle and introduce colour. It’s a really careful skill that is executed to the highest quality here.
I also love the second section with Frances McDormand and Timothée Chalamet about a French revolution in Ennui. The chessboard visuals are very Andersonian, and the general visual style is also pretty fantastic. There’s a lot less to this narratively; it’s just a pleasure to look at and listen to, with some of the best segments of soundtrack and score I have heard in a film this year. The third segment, despite being the one I liked least is a delight for the eyes. Anderson gets a little more colourful here and integrates a substantial animated segment that gets one of the loudest laughs in the entire film. It is, again, everything you want from a light comedy-drama, and I could watch it tomorrow without any complaints.
The French Dispatch is perhaps the most Andersonian Wes Anderson film, if you catch my drift. There isn’t a shot in there that you might mistake for someone else. I can understand why people might think that’s not so fun and that they may not like this film generally. However, my opinion is that it is always nice to see a filmmaker with personality. You like a person; you’re always happy to see them. Wes Anderson movies are like a close friend, and seeing The French Dispatch in cinemas is like catching up with someone you haven’t seen in years and having a perfect couple of hours with them. This is magic. It’s worth it for Robert Yeoman’s cinematography alone, but if not for that, then the laundry list of your favourite actors. Maybe you’ll wish there was more Willem Dafoe, but it may just convince you to watch The Life Aquatic. The same goes for almost everyone in here. I loved it.
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: 4.5 out of 5.
"It wasn't just about the music."
Questlove’s Summer of Soul has been high on my to-watch list ever since the initial trailer following its Sundance premiere this year. The reviews have all been excellent, and I’m a real sucker for documentaries that investigate ripe socio-cultural periods. Summer of Soul happens to tackle 1969 America and discusses numerous topics like the popularity of Woodstock, the opioid epidemic in Black suburbs, and the moon landing. It also happens to feature some incredible music and some even more remarkable footage from the festival itself.
Questlove knows the formula and gets it dead right here. It is a rather monumental debut, in a way, because there are no missteps with the construction of the documentary. The interviews are all from relevant outsiders or actual performers and attendees of the Harlem Cultural Festival. They are all placed neatly into sections of music and context that move the film on with purpose and intrigue. The insight is marvellous, always stimulating and, at times, breathtaking. The entire section devoted to Mahalia Jackson and Mavis Staples singing Precious Lord the year after MLK’s assassination is a series of those moments that make you stop. The interviews are magical, whilst some are disturbing. The footage from the festival is moving enough for Questlove to know when and when not to cut away.
Whereas moments like the focus on the Black Panthers acting as security due to the mistrust of police at the time is not only fascinating but deeply upsetting when you move beyond the idea of it. The fact that The 5th Dimension loved performing at the high-profile festival designed squarely to attract Black music-lovers because it made people realise they weren’t white is similarly invigorating. The entire doc is jam-packed with details like this, and they never seem out of place.
The original restored footage, found in a basement after 50 years, looks terrific. The shots of the crowd, the care taken with the live performances, the music itself, it is all so wonderful. I love the compilations of different wardrobes, the array of ages, and the mixture of dancing throughout the film. It’s even more impressive when you realise that the festival took place over a month of weekends and required the kind of scrutinous editing that the best festival focused films do. It doesn’t show either, Summer of Soul is as tight, seamless, and free-flowing as the best of documentaries out there.
Summer of Soul (…or, When the Revolution Could Not Be Televised) is not only a terrific title but an even better film. It is potentially the best documentary I have seen in my life. Allow Questlove to do more because, based on this, he’s got some serious talent in the filmmaking department. I could watch this again tomorrow and be as entertained as I was today. Vitally important in understanding the social atmosphere of one of the most socially damaged eras of modern history, but also a riotous laugh with some music you’ve potentially never heard before.
Spoiler Warning: This discussion has very few spoilers: some set up from the first act, a general idea of the narrative at hand.
⭐⭐⭐⭐
Rating: 4 out of 5.
"I'm not homeless. I'm just house-less."
Chloé Zhao’s Nomadland has been at the top of my 2020 to-watch list for longer than I can remember now. I refused to see it on Disney+ until the opportunity to see it in theatres was foreclosed. After many sold-out shows, I eventually did get to see the 2021 Best Picture winner on the big screen, and I couldn’t be happier that I held out.
I am not blown away by Nomadland, but I also went into it with six months of build-up and the expectation that comes with its plethora of awards. But I still loved it. It is far more for the visual component than I might have expected, as the cinematography is easily the film’s most defining feature. The natural lighting, beautiful shot composition, and tonal correspondence between the relaxed camera movements and the nomad lifestyle that the film showcases is always a treat. There are a myriad of shots that are plastered in my brain right now. If I were to return to this film in the future, it would be for its beauty.
The reason I say that is because, after the film finishes, it immediately feels like a film I would struggle to come back to. I think that is perhaps what is stopping me from thinking of this as a masterpiece. McDormand is fantastic, as always, but is this her most memorable, her best performance? The editing is slick and never feels jarring, with many spoken cues about why a cut has occurred or where the next location is. However, the narrative and the general lifestyle that this film is about means that we move from place to place abruptly at times. It does a good job placing you in the mind frame of Fern, but not much for the flow of the film. It’s certainly intentional, but Nomadland can feel somewhat stop-start in its second act.
I feel like I’m pointing out the very minimal flaws in an absolutely wonderful movie, but there’s not much discussion here when I think that every macro and micro detail is on point. I enjoyed the hyper-specific focus on the impact of one town being closed down in contemporary-Depression America circa 2007, and how the nomadic lifestyle was a very direct result of it. I loved the pseudo-documentary turn that it takes, shooting on the fly and having 95% of its cast be real nomads. It results in some fascinating ‘performances’ from Linda May and Swankie, most obviously.
Nomadland is a historically vital film, particularly in the awards space. The sentiment would be diluted if the film were not deserving of those accolades, and fortunately, this is so. It feels as though Zhao has a hand in the entire text; McDormand similarly so. It’s meditative and quiet, but it doesn’t need to be loud. What matters is that it has a voice, and it uses its space to present a community that I have very rarely seen before, definitely in such a capacity.
Connor Clarke Film 