So… May we start.

Hello, I am the Chief Filmific Advisor, Joe Witty, not to be confused with Whitty. Christmas is an incredibly difficult time of year for the NHS and there are things you can do to help yourself.

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The graph here shows that people who have been vaccinated and unvaccinated are generally unhappy at the moment. The blue sad faces represent a lack of happiness.

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The good news we have found is that a dose of Paddington 2 has significantly increased people’s happiness regardless of their vaccination status. The graph above shows the amount of people who have described themselves as significantly happier and the early results are promising. Those who haven’t watched Paddington 2 aren’t happy and those who have are. Therefore our advice this year is Watch Paddington 2, Stay Happy, Save Your Soul. I will now take questions

[Journalist]: Yes, I have heard that our film minister watched Cats last Christmas despite your restrictions against it. Why do you think anyone will listen to you and watch Paddington 2?

That’s a good question Laura. Based on the evidence, I would urge people to limit their Cats watching to a minimum to protect themselves. It’s incredibly vital that everyone watched Paddington 2.

[Journalist]: Well, I’m convinced Joe Witty. You seem to know a lot about films, therefore I wonder what are your top 20 films of 2021?

Thank you for your kind words Laura. Now I’ve found a convenient way out of that introduction,I will share with you my top 20 films of the year. As always, by year I mean films released in the UK between Boxing Day 2020-Xmas Day 2021. Films released at film festivals don’t count and I’ll tell you where you can watch them if they are available. This year had so many good films and there were at least 50 which I really enjoyed. Therefore, please check out my full list of 2021 films ranked here and do consider some of the honourable mentions that didn’t quite make the cut. In previous years, my top films were a Colombian film about teen soldiers and a Korean drama about a family deceiving another for their own gain. This years films are just as exciting.

As usual, I will show which streaming services you can find these films on. [N] – Netflix, [P] – Prime Video, [BBC] – BBC IPlayer, [BFI] – BFI Player, [M] – Mubi, [S] – Sky Cinema on Now TV, [A] – Apple TV+, [D] – Disney+ [£] – available to rent online

20) The Green Knight

I had about seven films to pick from for my 20th pick, so shout outs to Luca, The Father, Rose Plays Julie and The Reason I Jump amongst others. The Green Knight however is one of the most visually stunning films of the year. Dev Patel plays a knight who loses a bet to a magical creature and must go and face his death a year later. Hardly a happy affair, the whole thing is so nice to look at with a scene featuring giant people in a foggy canyon being a particular highlight. The final act in which Patel’s character is almost silent living through many years is one of the best parts of cinema to have been out this year. The film takes its time, so be prepared to be patient. However, sit back and enjoy the beautiful film. I wrote a review once upon a time which you can read here. [P]

19) Better Days

If I’m honest with you, it feels like years since I watched the Hong Kong film Better Days, so the whole plot isn’t quite as fresh in my mind. The film which was nominated for Best International Film at this year’s Oscars was a solid teen melodrama, which acutely studied bullying and pressure placed on students before their big tests. Our protagonist was a girl who hires a boy to protect her from bullying. I thought there were some solid lead performances and interesting twists. [£]

18) West Side Story

This isn’t the last musical on this list. The original 1960’s WSS never quite did it for me. It all felt slow and unrewarding which is why I went into the 2021 remake with fairly low expectations. However, this was a joy to behold. The set design was great, the costumes were beautiful and the dance numbers all impressive, even if the lead character was one second out of time. If you don’t know, WSS is a musical about the Jets and the Sharks, a white and Puerto Rican gang who hate one another. When one member of each gang fall in love and it becomes a bit of a Romeo & Juliet thing. If you can see this in the cinema you should as it’s a nice big finger clicking, twirling theatrical song and dance, featuring a star performance from new-comer Mike Faist as Riff.

17) The Power of the Dog

One film which will undoubtedly get plenty of awards gossip is Jane Campion’s Power of the Dog. A slow burning western sees Benedict Cumberbatch’s rough cowboy Phil psychologically abuse his sister in law and her son. It’s a film which takes its time and has a laborious middle act, but as things are revealed and all come together, they all do so magically to lead to a brilliant climax. The cinematography, score and acting are all top draw here. As I alluded to, it’s a film which requires a bit of patience, but if you can make it through it, it’s richly rewarding. I’ve talked about it more previously. [N]

16) Tick, Tick… Boom!

Andrew Garfield is the best Spiderman actor, we can all agree on that, and if there is any lingering doubt then watch Tick, Tick… Boom!. The film is based on the autobiographical play by Jonathan Larson, about his writing of Superbia. The whole film is great. It takes time to get into as Garfield’s Larson is telling the story on a stage then there’s flashbacks. It’s full of energy, and the messages about devotion to what you love are empowering, yet also shown as dangerous as Larson describes his decisions and consequences without self-judgement. Lin Manuel Miranda is solid in his directorial debut, although is helped by a great script, a great lead performance and some songs which will stick in your head for days. Really good (as are all films on this list) and I wrote a whole review here didn’t I. [N]

15) Stray

It’s a documentary about a dog. What isn’t to love? The dog doesn’t talk, nor is it big or red. It’s just a standard dog. The film maker follows a dog around the streets of Istanbul (where it’s illegal to capture or kill strays) and watches her interact with other dogs as well as humans. At its most interesting, the film sees the dog hang out with a group of young syrian migrants as we draw some comparisons between the way they’re treated and how the dogs are. It’s a really magical almost fantasy film with a lot of shots at dog height and a wonderful soundtrack. I’ve written about it before and you can read that here. [BFI]

14) Limbo

One of the best British films of the year, Limbo is also one of the quirkiest. Set on the Shetland Islands, the story follows four syrian refugees as they are waiting to hear about their asylum processes while trapped away from society and having little communication with their families. The lead character seems to have lost his spark as well as he carries around but refuses to play his oud (a string instrument). Full of dead pan humour and wonderfully symmetrical shots which make the island both seem huge and deserted and claustrophobic, the film has a great heart and is an incredible debut effort from director Ben Sharrock. Not a single scene or line feels wasted in this tight script. This is must-watch innovative independent film making. [M]

13) Nowhere Special

Get your tissues out. It’s time to cry. Nowhere Special is the sad film of the year as this low budget Irish film hits perfectly. John is a single father to Michael and with months left to live he has to find his young son a new family. The film sees him go to meet potential parents, while coming to terms with his own mortality and the inevitable conversation he must have with his son. The film is beautifully written with a great score to boot, however it’s James Norton (Happy Valley) who elevates this to brilliant heights with a stellar performance and some great chemistry with the child actor. I wrote a review once upon a time. [S]

12) Judas & The Black Messiah

Now onto best picture nominees from last years Oscars, Judas is a biopic of Black Panther Party member Fred Hampton (Daniel Kaluuya) and a recent recruit William O’Neil (Lakeith Stanfield). Based on a true story, the latter is threatened with prison after a car robbery goes wrong and is working undercover for the FBI against Hampton. We see his struggles between self-interest and interest in the cause. The film is an absolute blast and the two hours go through at a really good pace. The two lead actors Kaluuya and Stanfield are both on top form and this film deserved all the awards it won. I wrote a review way back which you can read here. [S]

11) Deerskin

This is probably the weirdest film on this list. From the guy who wrote the film about the rubber tyre, comes a film about a recently divorced man who spends his whole income on a deerskin jacket. He then starts hearing this jacket say it wants to be the only coat in the world. He then starts making a documentary in which he takes coats from others, before going for more extreme methods to be the wearer of the only coat in the world. It’s an obscure, dead-pan humour but my goodness it was one of the barmiest funniest films of the year. It won’t be for everyone, but it’s not a long film and if you want something off-kilter, there aren’t many better out there. [M]

10) Two of Us

This years romantic drama of choice comes from France. Two elderly ladies who live in adjacent apartments have had a secret relationship for years. When Madeline is about to reveal her secret to her children she suffers a stroke. Nina has to fight to be able to be with and care for her now non-verbal partner in a sweet story of love against adversity. The film is written wonderfully with two wonderful leads. They make you care about the characters and the whole thing is a wonderful time. [BFI]

9) Promising Young Woman

Out of all of the films on this list, Promising Young Woman was probably the one that stuck most with me. The rape revenge story was told in such an interesting way. It would have been so simple and easy to stick with a formula, however it felt like a story written by women for women with some notable decisions which made it more universally accessible, with even the name of the crime not explicitly mentioned, but suggested heavily in other ways instead. Cassie is working in a coffee shop when she meets Ryan who was in her year in medical school before she dropped out. When she hears about a person from the past doing well, she goes out for revenge against those who let down her friend Nina who has since committed suicide. The revenge is much more thought out than you’d see in Joker and it allows you to back Cassie all the way. The film works best due to an incredible screen play criticising all of those, both men and women, who enable such a culture to go on accountably. If the ending wasn’t as botched, it probably would’ve been higher on the list. I had an issue as the resolution while realistic seemed to go against the message of the rest of the story. However, it was really smart and I wrote my thoughts here. [S]

8) Nomadland

The Best Picture at the 94th Oscars, as well as best director (Chloe Zhao) and best actress (Frances McDormand), Nomadland certainly was a big deserving winner. In a world of marvels and big CGI, sometimes its easy to forget the essence of beautiful cinema. The slow, atmospheric worlds which can bring out an emotion by saying very little are almost a form of hypnosis. The silence of a reflective, sombre character can be easily connected with much more than one who shouts and screams their feelings. This is who we are and is probably why Nomadland is so effective. The film follows Fern, a widow who following her town becoming empty and her husband dying lives day to day in the gig economy while living in the back of a van. It’s an existence which is full of community yet loneliness and is so beautiful yet cold. It’s a slow burner and takes time to get into, yet when you’re immersed you watch this character and understand her. What she’s doing may or may not be the best thing, but it seems the only thing. We don’t judge her or her world. It’s not glorified, neither is it condemned sympathetically. It just remains wonderfully human. You can see more of my thoughts here. [D]

7) The Summit of the Gods

The best animated film of the year wasn’t any of the monotonous slew of Disney films, but one which was released to very little fanfare, the French film “The Summit of the Gods”. A Japanese photographer tracks down an experienced mountain climber to follow him on a climb. During the tracking down, we see flashbacks of what has made the climber the way he is. What I really loved about this film was the tense climbing moments. During these, I was so on edge that I forgot what I was watching was animated. The visual choices and the score really added to these scenes and despite them being drawings, you felt real stakes in these characters. It’s an absolutely gorgeous and different animation and is an essential viewing. [N]

6) The Invisible Life of Euridice Gusmao

I totally cried at this one. The Invisible Life follows two sisters in Rio de Janeiro. When Euridice goes off to marry a man in Greece but returns with a baby in her belly and no husband, her father disowns her. He tells Euridice that her sister is in Europe, while her sister is non the wiser of Euridice’s return. From this point, they live their lives hoping to be reunited with each other, their love for each other unwavering. However, the men in their lives do what they can to make sure this doesn’t happen. The film is a critique of a patriarchy in 20th Century Brazil and is at times really brutal and difficult to watch. However, if you do watch it, you will get a fascinating, dramatic story with two incredible lead performances which will leave you an emotional mess. I wrote a review which you can read. [£]

5) Drive My Car

A three hour long Japanese film about people talking and listening to recordings of themselves talking in a car has the potential to be incredibly boring. However, it is to the credit of the screenwriter and director Ryusuke Hamagachi that this film totally engaged me throughout its very long run time. A play director whose wife died when he came home late one day is directing a play which parallels his life. One of the actors had an affair with the directors wife, while the director builds a friendship with his driver. Himself and the driver both feel guilt over losing loved ones and build the trust to help each other make piece. Obviously much more happens over the three hours and the tight script and high quality performances make the time fly by. The whole film is understated and the characters deeply complex and relatable. It’s essential film making and you can see my full review here. [£]

4) Annette

I take back my comment about Deerskin. This is the maddest film of the year. A comedian, Henry, falls in love with opera singer Anne. They then have a baby, which is a puppet. Henry then exploits her when she is cursed with a beautiful singing voice. The whole thing is a rock opera which goes in weird and unexpected directions and is filled with incredible scenes whether the opening song “So May We Start”, Annettes first song and a mad superbowl half time show. When I went to this film with Liam, he absolutely hated it. However, I loved it and if you don’t buy into it, it won’t be enjoyable. The music is great as is Adam Driver’s performance. Even if you don’t watch the film, at least check out the absolutely incredible scene where Simon Helberg’s conductor monologues while conducting an orchestra. Excuse me a moment while I point out that I reviewed this film before. [M]

3) After Love

My top British film of this year is up there purely due to the brilliance of Joanna Scanlan. Following the death of Mary’s muslim husband, she discovers he has a secret other family. She then goes out to France to find this family and claims to be their cleaner to understand them and the truth behind her husbands lies. It’s a sombre occasion at times, however it’s absolutely incredible. The subtle score, the brilliant script and incredible acting make this piece natural and human. Even when you didn’t agree with Mary’s decisions, you still sympathised with her which shows how great a character she was. I totally cried at this film as well, and when I wiped my tears I also wrote a review of it. [BFI]

2) Minari

The highest ranked Best Picture Nominee on this list, Minari has so much going for it. The film sees a family of Korean immigrants in America move to Arkansas to set up a farm. Things get a bit more chaotic when the family grandmother comes to live with them. The whole film looks at identity and chasing the American Dream. The film looks beautiful in the sunny fields and has an incredible score. However, the thing which propels it to being great is the grandmother played by Youn Yuh-Jung. She’s not a traditional grandmother as she enjoys swearing, gambling and watching the wrestling. Her relationship with her grandson (played by Alan Kim) shows a clash of cultures, which they overcome with a loving family bond. As with most films in the top 10 of this list, I was laughing at times and in tears in others. It’s an essential film for the whole family which everyone should try and catch. Read my review here. [S]

The film of the year is…

In almost two years of social castration, the frustration of living a mundane life every day gets to you. Your locked in your house, unable to live your best life and the life that you want to and feel it slipping away further every day. You dream of your youth and freedom. The careless days of old are romanticised. Were these perfect, maybe not. But you felt alive. The disconnect from the rest of the world is something palpable as you feel disconnect within yourself. It therefore feels appropriate that the film of the year touches on these themes, and that film is Another Round.

The Danish film which won best international film at the Oscars focuses on four middle-aged teachers all of whom are slightly unsatisfied with their lives. Based on a Norwegian philosophers theory, they attempt to live life with 0.5% blood alcohol content. This leads to interesting consequences both good and bad.

The films strength lies in its non-judgemental tone. It can be read as both a celebration and a condemnation of drinking and letting yourself go. You either want to drink after it or never again. However, on a second watch I found it to primarily be a celebration of life, especially poignant as director Thomas Vinterberg’s daughter died during the shooting of the film. The script is well made and the actors are all fantastic, especially leading man Mads Mikkelsen. The whole thing is absolutely incredible before ending with one of the best ending scenes to have ever been in a movie (Link here) which can be read in so many ways. It’s funny, tragic and full of heart and really is deserving of being film of the year.

You can read my full review of the film here.

What a life.

This is going to be a huge film dump because over the past few weeks, I’ve seen a number of films, however between that I was on holiday. It was a walking holiday up in Scotland. With anglo-scotlo relationships at an all time low, I had to be careful and drastically failed at that task when I met the lead blogger of EastWemyssFansOfMarvelFilms.com, the 14^th biggest film blogger in Scotland, so a fairly a big deal. I didn’t mess up by telling them I wasn’t a fan of the second MCU Spiderman (first half good, second half boring crash bang), but by calling them “East Where-miss Fans Of Marvel Films.com”. Apparently it’s pronounced “East Whims Fans Of Marvel Films.com” and the one way to offend a scot is to mispronounce their place name. They swore vengeance on me and I hope they don’t find Surbiton Rebel Wilson Fan Club otherwise one third of my sinister six will be complete.

King Richard

So, on with the films and the biggest release on here is probably King Richard. The film is a biopic about Serena and Venus Williams growing up, but it instead focuses on their dad Richard who is pushing the sisters using his maverick methods. The first half of the film goes on an irritating loop of “Daddy, I’m not sure I can succeed”, “Yes you can I love you”. The second half of the film goes on a loop of “Richard, you’re holding these girls back”, “Oh no Im not, they’re going to be great” “Not with you Richard”, “Yes they are”. By reading the description you’ve basically watched the film and won’t be surprised with how it ends.

I’ve seen lots of buzz around Will Smith’s performance and I don’t get it. It’s not bad, it’s just fine and it feels like Will Smith playing a fairly generic Will Smith role. There isn’t any complexity to his character which isn’t superficial. We never fully explore the reasons he acts as he does, nor the impacts of his decisions on his daughters other than minor frustration. They are both producers on the film and it’s clear this has stifled any legitimate criticism of his methods. They’re controversial, but the film doesn’t treat them as such.

The script is corny, but the music, oh my gosh, they layer it on thick. It’s the most melo-dramatic irritating score which comes on as a scene is ending and another of Richard’s many identical arguments come to a head.

While the film isn’t especially any good, it’s likely to be a crowd pleaser. It’s a feel good by the numbers sports biopic where you know what is going to happen with that actor you like from Fresh Prince/Men in Black. The casual film watcher will enjoy it, but I’m about to discuss so many significantly better films than this one, so I’d suggest giving it a miss.

King Richard is in the cinema now

Tick, Tick… Boom!

Next up we have Tick, Tick… Boom!, the directoral debut from that guy in absolutely everything, Lin Manuel Miranda. So bear with me here. It’s a musical film based on an autobiographical musical of the same name which is about the construction of another musical, but adapted slightly to consider the creation of a third musical which is also a well known film. Following?

TTB is an autobiographical film about Johnathan Larson, the creator of Rent. The film focuses on his creation of his debut musicial, the futuristic Superbia. Larson is living a poor but happy life, with not much but his passion and his girlfriend. He’s at his 30^th birthday and suffering an early mid-life crisis. His girlfriend wants him to move away from the city with her and his best friend is suggesting Larson gets a lucrative job and gives up writing musicals. In the meantime he is working on a preview of Superbia However, with weeks to go before he previews his work he’s suffering from writers block and not able to work out the missing song which is required. While this is happening, the AIDS epidemic is fiercely roaring in the background, no doubt influencing his future hit musical Rent.

I really liked Tick Tick Boom for several reasons. Firstly, the film had strong themes. These were about commitment and love of a craft, no doubt why Miranda took the project on. It’s also about the finiteness of time, both with the play and the lives and relationships around Larson. The name of the film shows how panicked it all is and how everything feels like it’s ending or changing apart from him. This becomes even more poignant when considering Larson’s untimely death only a few years after this musical was made.

Another name for the best actor award season lists will be Andrew Garfield, and it will be well deserved. A year ago, he couldn’t sing at all, however now he looks like he’s been doing it all his life. He gives a performance full of Larson’s energy and the subtle differences between his vulnerable flashbacks and his stage persona when performing are really clear to see and provide a wonderful finesse. There are sad moments in the film, and he doesn’t milk them but treats them with respect and a good level of emotion.

The style of the movie is odd. TTB originally was a one man show (with a couple of backing singers) of monologuing with musical numbers. Director Lin Manuel Miranda sticks with this, but interjects it with flashbacks so it can feel a bit jarring. While it took me the first hour to really settle with this, when I was in, the second hour was great. There are some real earworms as well.

TTB is a great movie with a real beat and energy, mainly thanks to Andrew Garfield’s performance. It’s available on Netflix now and is worth watching as it’s one of the best musical films of the year.

Tick, Tick… Boom! Is available on Netflix now

The Power of the Dog

Let’s go for a hat trick of lead male performances likely to be nominated for awards, by also talking about The Power of the Dog, the new film by Jane Campion (The Piano). Based on the book of the same name, the film is a slow burner set in 1920’s America, a time of cowboys. Leader of a cowboy group Phil (Benedict Cumberbatch) has rolled into town with his gang including his brother George (Jesse Plemons). George falls in love with and marries the owner of the local ranch much to Phil’s anger. Phil then makes it his mission to psychologically terrorise his sister-in-law and her son who he later gains other strong feelings for.

This film is a really weird film for Netflix to own. It’s such a slow burner, in a similar way to Roma. It goes at such a pace that to watch it at home would be tough, however it is rewarding if you’re willing to focus. While some sections felt unnecessarily dragged out, Campion manages to keep a real tension going throughout. Cumberbatch’s toxic lead brings a hugely intimidating presence, so much so that you feel nervous not only when he’s on the screen, but also when he’s not there. This is also helped by a fantastic score by Jonny Greenwood which also keeps everyone on the edge of their seats. It really is a mood piece and yet there is an interesting story there, with lots of small threads and seemingly throw away scenes which all come back for an ending which will have you thinking for days.

The film also looks beautiful. A bunch of drone shots and clever camera angles show off the scenery in a way which makes it seem rich. There are endless possibilities, but the small town also feels like an isolating prison for our victims of Phil’s wrath. It truly is beautiful to look at and if you can see it on a big screen, then make sure to do so.

At the time, I was totally on board with the film. It’s not perfect but it does a lot right. It was a film I respected as a good example of the craft as opposed to one I loved. However, it has also stuck in my head in the days since. It’s not a film for every one, but those film fans who are ready to invest in a film which takes its time and does masterful show-don’t-tell film making will be in for a treat.

The Power of the Dog is out in cinemas for a limited time now and on Netflix on December 1^st.

Drive My Car

The last film I want to discuss as my train will soon reach it’s destination is Drive My Car. The Japanese entry for best international film at the upcoming Oscars comes in at a whopping 179 minutes long and when a film is that long you’ll love it or hate it. I’m in the former category as it kept me on board throughout the whole thing.

The film has a 40 minute prologue, so get ready for me to spoil that. There is still 140 minutes after to watch which I won’t spoil. Yusuke is a play director in Japan and is happily married to wife Oto who is a screen writer for TV. She comes up with most of her best ideas at the most intimate of times and gets her husband to say them back to her the next morning. One day when Yusuke is to go for an audition he finds Oto cheating with an actor, Koji and doesn’t confront her. There are many complex reasons which are discussed later. One day, a week or so later, Oto says they should talk when he’s home from work. Yusuke delays getting home and finds his wife dead. The rest of the film focuses on him mourning as he directs a play which is thematically similar to his life. It’s somewhat dramatic as actor is cast into a lead role which makes the whole thing awkward. Meanwhile, director is also forming a friendship with his new chauffer driver and as they grow to trust each other more they can begin to deal with their trauma. It’s like Green Book but with self-respect I guess.

There isn’t much action in this film as it’s a rather understated piece, but the script is absolutely phenomenal. Based on a short story, it’s been fleshed out incredibly. No single scene seems wasted and each line is said with a purpose. I was worried I’d be bored like in I’m thinking of Ending Things, but because of what we’ve seen each line feels like it carries a weight, regardless of how insignificant it seems. It’s also helped by a stellar cast who all pull their weight in this film about mourning and self-forgiveness. The construction of the film makes it release lines from the play at the relevant point in the story to get you into Yusuke’s mind.

Drive My Car is a well made, beautifully understated piece. Not much action happens as it’s a much more meditative emotional journey. With such tight writing and direction, it’s a pleasure to watch and one of the best of the year.

My family have a long running and quirky family Christmas tradition called “This is my friends seat”. I’m not sure if this is top secret and if it is, sorry. TIMFS involves the family being split in two and half of the family being taken to another room. The first half still in the room have an empty seat next to them are each designated a “friend”. Then when this is done, someone from the other room goes back in to this room and amongst the ominous cultish chanting of “This is my friends seat” then has to sit on a seat next to whoever they predict to be their friend. Get it right, they get applauded and it’s nice. Get it wrong, they are booed with no mercy and have to leave the room until a minute later when they try again and it repeats until they find their friend. This could potentially lead to being jeered five times in ten minutes by your very own loved ones. It was a horrible brutal game which as part of ones upbringing made them more resilient. If you could handle being booed and taunted by your own family, you could handle everything.

If that Christmas tradition seems weird and intense, well wait until you hear about Spencer.

It’s very difficult to define Spencer in a certain genre, however I think tonally it sits within the horror genre. Not full of scary moments, it certainly plays a heavy atmosphere piece with a simple plot. Lady Diana (Kristen Stewart) goes up to Sandringham Palace on Christmas Eve and has to survive a strange house of tradition for three days, with each small thing playing on her mind.

The reason it feels like horror is that feeling of being trapped. The opening shots are drone shots over a foggy palace with nowhere around, somewhat reminiscent of the Overlook Hotel and with the winding red corridors you see your characters walk around and occasional visions of people who aren’t there, any tributes to The Shining don’t seem accidental. You try and work out a map of the place in your mind, but are unable to as there is no exit. Put this along side the incredible jazz soundtrack with its dissonance and it feels quite overwhelming in putting you into Lady Diana’s head.

The other scary element is the royal family. They never quite look right or normal. It’s always tense and on edge as both the queen and Charles are constantly shooting piercing, unblinking looks like they’re always looking over her. It’s welcoming but in a cold way which somewhat reminded me of Get Out while watching it.

Arguably, it’s similar to The Nest, the Carrie Coon and Jude Law film which came out earlier this year. While Carrie Coon provided one of the best performances of the year in that role, Kristen Stewart is similarly strong and I regularly forgot I was watching an actor. The coldness between her and Jack Farthing’s Prince Charles was stark. Only if there were public cameras around were the two ever in the same shot. Otherwise, you’d never see them on screen, the camera instead flicking between one and the other when in conversation, never with any warmth. This was contrasted strongly with her warm and nurturing relationship with William and Harry.

The side cast were similarly eerie as well, as dressers and cooks popped up throughout, seemingly gossiping and in cahoots as Diana felt the world increasingly against her. In the kitchen there is a sign which says quiet please, the noise travels, showing how Diana constantly feels watched, judged and shamed by all those around her including her own family. Trapped in, but refusing to become a royal the whole theme of the film is about her remembering herself and standing strong. She is given a set of pearls which were also given to the queen by Charles, which act as a motif compared to an old ragged coat of her fathers which she found earlier on a scarecrow. They almost act as a dog collar restraining her and trapping her in. At this point, it’s also worth noting how absolutely fantastic the costumes were, with each reflecting a different mood and a battle and so much focus, it was important that each one was on point.

Obviously, such a film will be politically charged. Showing the Queen and Charles in a bad light wasn’t a problem for the director. William and Harry are both there and concerned, although treated with warmth and clearly the only reason their mother stays around.

The ultimately difficult thing for the film maker to do is find an ending. Regardless of how happy it may end, it’s a story you know will end in tragedy. Any sense of liberation or relief is temporary, any potential relationship developments will end in tragedy even if you don’t see them on the screen.

Summary

Spencer is an eerie mood piece about a strange family Christmas. It’s always going to be a difficult balancing act with very little information about how much of what you watch is true and how much is exaggerated. Regardless, it provides an intriguing drama with a strong sense of paranoia, brilliantly shown by Kristin Stewart. [Grade: B+]

Damn, this is a lot of movies. It really is rather worrisome right now. Each screen of a film I go to is slowly filling up again. More popcorn munchers returning. However, it’s good news for the cinemas I guess, so whatever. That said, most people have been code compliant and it’s been nice for the atmosphere.

Dune

You’ve probably seen Dune advertised as the new Lord of The Rings for the sci-fi age, and in some ways its comparable. Part 1 (the sequel has recently been confirmed) certainly doesn’t live up to LOTR, however it does provide an interesting viewing experience.

Paul is part of a pretty strong family called Atreides. The great emperor offers them the desert planet which everyone likes because it’s full of spice which is the commodity that has people queuing up at pumps as soon as someone says “shortage”. Paul has been having visions about a pretty woman who lives on the planet, mainly because his mother is a part of a cult, but screw that because it turns out the emperor is tricking Team Paul by planning to invade the desert planet he just gave away. Things happen, then we have a desert exploring story as Paul looks to see what his dreams about the pretty girl mean and use his loud voice which makes people do what he wants.

The plot is certainly dense. After 2.5 hours I found myself running out of energy trying to keep track of the moving parts and certainly a fan of the book would get more out of a first watch, although that said I think a second watch would be easier.

Aside from that, Aunt and I went to see the film in the big fancy Dolby screen in Leicester Square (The one where all the previews happen) and it was a brilliant experience. This is a film which needs to be seen on a big screen and is the first true blockbuster we’ve had since 2019. The scenes were great and full of detail. The effects were big and the landscape, no matter how plain was hypnotic. The whole film had an entrancing feel and really did give off big Star Wars vibes. The sound effects were also fantastic. The deep vibrations and explosions could be felt through your seat and it’s been so long since there has been a movie like that. If you can see it in a cinema, with IMAX, do so and you won’t be disappointed in this visual treat. The ships and especially the giant worms were all wonderful to look at and really had a great sense of scale.

However, you might be disappointed in the story. For such a big source material, it is difficult to get everything right, think of the original Dune or even Akira and the world was tough to understand, although that wasn’t helped. Any prophecy or vision was randomly littered when it occurred. It would have been so much better to have any cultish prophecies near the start, then we would have had a brilliant pay-off.

My biggest gripe however, was the ending. Obviously, I won’t spoil anything here, but I was starting to get tired, then thought that we were finally about to get somewhere, however we didn’t. There was one anti-climatic moment of combat in which the hero didn’t even look like they were in danger, then 30 seconds later we just ended. There was no pay-off from this lame moment, it just finished. I know some people don’t like the Fellowship of the Ring ending, but that seemed like a nice wrap up compared to what I saw.

The good news however, is that this film has a solid footing for a good sequel. It’s built a rich world with some interesting threads and certainly suggests part 2 will be much darker and more adventurous. If the soundtrack is anything as good as this one was (Hans Zimmer was brilliant), and the acting remains competent then we’re in for a treat.

Summary

Dune is a really solid blockbuster movie. With big visual and sound effects and a wonderful soundtrack, this film should be seen on as big and loud a screen as possible, and it will make up for some story issues which certainly stopped it from being deserving of legendary status. [Grade: B]

The French Dispatch

There seems to be a stereotype that when I like a film, it’s probably pretentious twaddle. Maybe the stereotype is that I actually like pretentious twaddle among other films. I very much assure you this is not the case and can confirm this as I didn’t really like The French Dispatch because it was pretentious twaddle.

The film isn’t really a movie, but an anthology of three stories all linked by them being written for the French Dispatch, a magazine for people who don’t like comics. This is linked by some narrative about the editor dying, but that really isn’t important. The first story is about a homicidal maniac who is a talented artist told by Tilda Swinton’s character. It’s a bit slow and doesn’t really give much, The second story is about a student protestor who protests and writes a manifesto. he’s a bit pretentious and unlikable, a perfect metaphor for this movie. The third is about a child been taken hostage and a cook having to save him. Again, nothing really big there.

I don’t care and neither should you because the huge problem with the French Dispatch is that it has no heart. Each story and character is there briefly until they’re not. Each speak in a way that makes them sound like intellects. Your new French wave film lover will love it because the character sounds like them, but that’s because they kind of sound like [I’ll allow you to choose your own insult here].

The film is pretty, it’s well shot and is nice to look at. It doesn’t have the grandeur of Grand Budapest Hotel, but it’s much more varied and experimental. The problem here though is that it doesn’t really do any of these techniques for a reason, except to show it can. It sounds good and occasionally leaves a wry smile. It’s too quirky and Wes Anderson forgets how to make a movie.

Summary

The French Dispatch is a very nice looking movie made in Wes Anderson’s trade mark style. Lovers of his movies will gain a lot out of it, however the rest of the world should avoid this nonsense and actually watch something enjoyable. [Grade: D+]

Stray

I also wanted to quickly mention Stray. It had it’s cinema outing earlier this year and I missed it then, however it is now out on BFI Player and other streaming platforms. It’s going to sound like pretentious nonsense, but I like pretentious nonsense.

Turkey is one of very few countries where it is illegal to capture or kill a stray animal. This means cities such as Istanbul, where the film takes place, have loads of stray dogs wandering the streets. Stray is a documentary which follows one dog, Zeytin, around the city documenting his life with no voice over or anything and it’s really brilliant.

I know animal lovers will be apprehensively concerned about this film, but I can assure you that no dogs are harmed during the run time. Zeytin is a beautiful soul who we come to know and love. She doesn’t look to hurt anyone and is friendly with dogs and humans alike. The film is shot without a voiceover, meaning you are just seeing her and watching her face to connect with her. It is also shot often at dog head height meaning you often see humans from the waist down giving you Zeytin’s perspective.

The film gets even stronger when half way through you meet three Syrian refugees who Zeytin essentially lives with. They’re the ones who named her and she goes around with them regularly. They’re in a state of limbo, unable to work and regularly just sniffing glue to pass the time. It’s somewhat poetic as these humans are as lost and stray as Zeytin and much like her just want a sense of love and belonging. From that, we can compare the way refugees are treated to that of animals, and it really doesn’t come out well.

As well as looking great, there is a beautiful violin soundtrack which gives these streets a sense of magic, wonder and grandeur which fully immerses you.

Summary

Stray may be one of the most simple, but one of the best documentaries of the year. It just follows one dog around with little context who you immediately care for and her friends. It shows a snapshot of Istanbul politically in the background as a consequence making it an enjoyable film about a dog and a thought provoking piece of art. [Grade: A-]

I know, I went quiet again. The simple reason is that after James Bond, there wasn’t much on, although I did go to London Film Festival a couple of times. I saw Red Rocket, Sean Baker’s new film after The Florida Project (one of the best of the last 5 years) which was disappointing, Pedro, a film about someone in India killing a cow (I didn’t really get what was going on) and Hit The Road, which actually won best film at LFF. I enjoyed that one and look forward to re-watching when it’s released next year. Surbiton Rebel Wilson Fan Club didn’t enjoy LFF as it had competent actors in it. Still, before I watch Dune and the French Dispatch, I just wanted to discuss this film I randomly caught last week.

Set in 1950’s Brazil, Invisible Life looks at two sisters called Euridice and Guida who when we meet them are in their late teens. Euridice is a quiet, incredibly gifted pianist who dreams of play in Vienna, while Guida is much more of a free spirit. Both love each other dearly. One day, Guida asks Euridice to help her escape to a party. Much to Euridice’s surprise, Guida runs off that evening with a man to Greece. Euridice marries a Brazilian man some time later, having not heard from Guida. All seems calm until Guida comes back to Rio De Janiero pregnant. The father is outraged and banishes Guida, falsely telling her that Euridice has moved to Austria to pursue her dream, while Euridice is none the wiser, still believing that Guida is in Greece.

At this point, the two miss each other very much. Euridice is regularly asking her parents about whether they’ve heard from Guida, while Guida regularly sends letters home, although none ever reach Euridice. They both imagine the other out in Europe living their dream, while the reality is that both are in Brazil, not living the dreams and being stifled by the world around them.

The film really reflects the rampant sexism of the time in a brutal manner. Both women are limited and hurt by those around them. Euridice’s dream is quashed by her husband in the same way that Guida’s happy ending is ruined by the Greek man who has left her to be a single mother. Their father is stopping their loving relationship while their mother is described as his shadow. Most of the dialogue throughout shows this theme as do the sex scenes which show how the men have all the power. Despite the world beating them down, however, the relationship between Euridice and Guida is never fleeting as they love each other and want nothing more than to be back together. Nowhere is this clearer than in the film’s final act which is one of the strongest of the year and left me an emotional state.

The main way it did this was through a simple and engaging plot and good story telling. The script is a tight one, with each new scene showing quite a lot of progress. After the first 20 minutes, there is no filler, no time to breathe and reflect. You’re on this journey, potentially hopping forward years at a time, following two complex and fleshed out characters, praying for their reunion.

The whole film really kept me intrigued in its almost 2.5 hour run time. The cinematography wasn’t particularly special, as the film was very indie, but that’s fine. The characters are so much more important than any special effects. They make it authentic, so much so that some of the more melodramatic moments forgivable, and rather emotional. I did shed some tears at some point in this movie. Any sadness and fear is matched by community. When Guida is banished from her house, the film risks becoming some form of “poverty porn”, however what it does instead is see her befriend another woman and rely on this community, offsetting that with Euridice’s more depressing but conventionally successful life with her not very supportive family network.

The film does something really interesting when entering a new time period by having it introduced with Guida’s voice reading the letters she sends to Euridice. This technique in particular doesn’t go with the show don’t tell mantra, however it does effectively show time passing and despite the hardships going on in Guida’s life, it shows how much she still cares for her sister.

I also want to give a quick shout out to the wonderful score by Benedikt Schiefer. It’s quite understated at times, but dominant at others. It sticks to classical instruments, especially the piano which reflects Euridice’s life. The more fantastical naturalistic parts of the score also leave you in a bit of a trance.

Summary

The Invisible Life of Euridice Gusmao isn’t for those faint of heart, however away from the more disturbing scenes, there is an absolutely brilliant story of two sisters who love each other and want nothing more to be reunited. While subtly looking at power and sexism themes, the tight writing and acting lead to a really emotional story which is one of the best of the year. [Grade: A]

This film has a very limited cinema run, but it also available to stream

No Spoilers

There are two ways in which I could watch James Bond. Either I am a secret agent who will critique the accuracy of the spy world with expertise, or I am not a secret agent and I will critique the spy world without expertise. The paradox here is that if I am a secret agent, I will not divulge this and in fact tell you I am not a secret agent, and appear to critique without expertise. The point of this opening paragraph? To say I’m not a secret agent.

I have never really bothered with Bond before. I’ve seen most of Skyfall in parts, and watched Judi Dench die for some reason, but otherwise it’s just never had a good time to jump in, and honestly NTTD may not be the best time for a new bond fan to jump in, but it’s literally the only thing on in the cinema this week so who cares.

The general story is one I’m sure I’ve heard somewhere before. Opening couple of scenes are flashbacks, one with a girl who sees her mum shot by a bad guy with a mask, the second has Mr Bond in Italy with a woman he likes, before they are found by Spectre, the bad guys. He accuses her of betraying him. We then go five years later where Bond is hidden away retired, however when a mysterious and deadly weapon goes missing, he has to hunt it down before the villain can cause major damage. Alongside his usual alphabetti spaghetti friends and a brand new double-0, James Bond will try to save the world with the suave and panache of this film series.

So I don’t really know where to start with this as I simply don’t know Bond that well, but I guess I will tell you that I enjoyed it. On the whole, the film remained serious, but with that tinge of camp charm that is so often included. You get your “shaken not stirred”, “Bond, James Bond” plethora of moments in amongst a serious attempt at a spy thriller and the occasional use of a kill line is more tolerable than the standard constant Marvel dross.

For Daniel Craig, it was a fitting swansong. This loner starts to show his feelings and his hope and it’s a solid outing. It will certainly be odd to see who the next 007 will be as he is the only one my generation have grown up with. He has that serious suave that you know and are endeared towards and his successor will have a tough time trying to match Craig’s levels.

For every great hero there should be a great villain. Does Rami Malek’s Siffan provide a worthy adversary? No, he was boring. A generic eastern European mumbling accent and a scarred face to boot, Malek is really let down by a fairly shoddy script and doesn’t offer anything of interest either. A big name after Bohemian Rhapsody, maybe his best work is the indie-stuff and he should stick to that as with this role he has nothing. As well as being poorly acted, the character doesn’t bring much to the table either, with the reasons for his intentions never really explained. He wants to kill people just because. If the script had provided more reason for his character to act as he does, the emotional climaxes would have meant something and would have made a bit more sense than just slightly forced plot points, although if I knew more about Bond, maybe the main moments would have meant more to me.

While there is a fairly standard formula, it is stirred, if not shaken. The last act has a few un-Bond-ly turns in it which were a genuine surprise. The addition of the new double 0 was a welcome change, and was well acted by Lashana Lynch. It will be interesting to see if she continues to play a significant role in the future.

At two hours and forty minutes, this is certainly one long film. It generally went rather quickly. At times, it felt slow, but I didn’t find myself bored. That said, it could have certainly streamlined twenty minutes as some scenes tended to feel somewhat repeated, with some American characters not particularly adding much. The moment Rami showed up, the whole thing seemed to slow down as well, when in reality we could have done with less droning from him. Still, on the whole these are minor complaints.

Summary

Craig’s final outing as Bond provides a solid, if not spectacular swansong. He enjoys a well crafted film, although it provides very little revolutionary ideas for film making. The potential impact of a strong last act is mitigated by an overly long run time, and an incredibly dull villain, but this doesn’t take away from a decent movie. [Grade: B-]

So, I must admit there is an issue here. I find myself perpetually busy and it means that I don’t really have as much time to write about the films I see. There is a trade off between how many I can see and how many I write about, and unless I have a burning passion, it can make it difficult to justify the writing of this blog, especially when one has spent so long doing so little over the course of a year or so. I’m not spending an hour or so telling you that Jungle Cruise is shit. But that is fine, and some days or evenings this spewing of consciousness can be rewarding, whether it fills up an evening I decide to rest at home, or becomes a symbol of productivity, a tangible output, it still has a place. If you would like more regular updates about what’s worth watching and to discuss them with me, as well as just sending me a message about them, you can also find me on letterboxd, a pretty cool tool to use as a film diary. You can rate, review and recommend films on the site. It’s pretty epic. Still, enough wittering, it’s time for more wittering.

I apologise for my absence recently. In the film blog world, we have our own shady universe, with our own banks, churches, schools and courts. You think money runs the world, wrong, what truly runs the world is irregularly updated film blogs from sad guts such as myself, therefore friends, when I rise to the top I Shall remember you (Although, don’t mention this world to anyone. If word spreads that I spilled the beans, I could be killed, or worse expelled). However, in the mean time, I was put in front of film-blog-court accused of attempting to sabotage our friends over at Surbiton Rebel Wilson Fan Club. Once we’d heard from the witness for the prosecution and myself, the 12 angry men decided that I must be innocent anyone who enjoys a Rebel Wilson doesn’t have standards to sabotage. Now that is out of the way, I’m officially back and about as good as ever, so what films have we to look at today?

Luca

Let’s start off with a Disney+ movie. I’m aware this came out a while ago, but I’ve only just seen it and as this blog sticks to my rules, I shall discuss it. (I’ve already reviewed the more recent release on Disney+ which is Cruella).

Having explored the human mind, the after life and rats cooking food, this Pixar movie takes it down a notch. The film introduces us to the fearful Luca, a sea creature who never goes onto the Land. He and his family live off the coast of Italy, near a town who hate sea monsters. One day, he meets Roberto, a confident boy who tells him how wonderful living on the land is. When Luca’s parents find out he’s been on the land, they threaten to send him away to the deep dark ocean, at which point, Luca and Roberto run away to the town to find a Vespa and live their lives free. They realise they can do this along with their friend Julia by winning a competition which involves cycling, swimming and eating pasta (Because, you know, that’s what you do in Italy).

There were a few reasons I liked this film. Aesthetically, it’s one of the most enjoyable films Pixar have produced. The idyllic colourful Italian seaside town has a totally vibrant feeling with an almost beautiful colour scheme. The place feels alive and like it’s own character. Dream sequences were also creatively made and were welcome in their interludes. The music provides 20th century Italian pop which while I’m not an expert, is certainly upbeat alongside a standard string section providing the usual standard of soundtrack.

The plot itself was fairly simple. It’s not going to win any awards for coming up with something new, however what it does do is with a shorter run time of around 90 minutes is forgo the adventure across the world for a simpler character based story and that works so much better than the usual dash from A to B with the character learning a message along the way.

The lesson the film wants to get across is that it’s okay to be yourself. I read the film as an allegory around being gay. The protagonists being hunted for who they were, having to hide themselves and being at risk of being out. There were certainly scenes and moments which were very on the nose for the metaphor, my favourite one being near the end, but for those who haven’t yet seen the film, I won’t spoil it.

Ultimately, Luca proved to be a fun, heart warming family watch. When watching with parents and younger sister, it proved to garner positive reviews. It’s colourful animation, feel good story and enjoyable soundtrack made it a simple, but pleasurable experience. [Grade: A-]

Luca is available on Disney+

The Nest

Meanwhile, a film I certainly wouldn’t watch with my family is The Nest. It’s been around 10 days since I watched the Nest, and already I’m struggling to write down a plot. That’s not down to it being forgettable, but down to it being much more of a character study.

Rory (Jude Law) decides to move back to England from America with his wife Allison (Carrie Coon). She agrees to it, despite her reservations as Rory believes he has a big opportunity. They move into a house which is far too big for them, in an almost haunting way with their two children. However, soon as Rory starts to interact with business partners, Allison starts to doubt the integrity of her husband and whether he can see through his promises. There are questions around whether she is right or if she is becoming paranoid as she increasingly begins to lose her composure.

The plot itself isn’t especially interesting and I didn’t care for the children. However what I did care about was the two lead performances. Jude Law playing a cocky business man is wonderful to watch. His charisma is clear to see as are the cracks as his plans don’t come to fruition. His love and his disdain for his wife switch quickly and create a really tense atmosphere. If he’s great, then Carrie Coon is simply incredible. She steals the show with her descent into madness. We question her and empaphise with her. While Law’s character says a lot with his dialogue, Coon’s says even more without.

The production design behind the house is great as well. It’s creepy and atmospheric, much like the Overlook Hotel. It truly adds to the atmosphere, as Ali becomes paranoid that it’s dividing the family apart. Alongside a droning, low key score the film acts like a horror, but isn’t really. Instead of a psychological thriller, it plays as as a character study as you can read what’s going on much clearer than Ali.

This film won’t be for everybody. The lack of plot or clear direction mean it’s not the most accessible film out there. However, it’s still an experience and if you let yourself into the minds of the characters, you’re going to be immersed in a world which can entrance you.

A slow burning, atmospheric piece, The Nest provides an interesting cinematic experience and is worth going to see if only for two incredible lead performances by Jude Law and Carrie Coon [Grade: B]

The Nest is available in Cinemas Now

Wow, what are you doing re-blogging for the second time in a month(?). Is this your official grand return? Honestly, no. I’ve been hit with a cold. A novel idea after 18 months of bliss, it’s not even knocking me down that much, it’s just a tad inconvenient and would be discourteous if I were to go and watch a movie. I also didn’t have the desire to fork out £50 to watch Palace vs Brighton, so here we are instead. I’ll review two films today.

Everyone’s Talking About Jamie

Maybe my general indifference (or worse) towards Everybody’s Talking About Jamie was damned from the start. I’d heard some average reviews from those I trusted and more importantly, I’d seen it at the West End by chance only a couple of weeks before, so had a solid basis to compare it to. To make things even worse, it had only been a week since I’d watched a musical which was one of my favourite films of the year. But I had hope. Unlike the masses, I enjoyed the similarly corny The Prom the previous year, so I went in with an open mind. Was it any good? No, not really.

Jamie New is a Sheffield based boy who on his sixteenth birthday is given a pair of heels from his mother. From a Northern working class area, Jamie dreams of nothing more than performing as a drag queen, much to the disapproval of his father, played by Finchy from the office. (If this sounds like a shit Billy Elliot, there is a fairly simple reason for that). The rest of the movie is two hours of self discovery and feel-good corniness that you’d expect, culminating in Jamie wanting to wear a dress to prom. Mentored by Hugo, the former drag queen Loco Channelle (Richard E. Grant), he has to find his voice. I know, the plot sounds a bit derivative, but it’s a fair summary. It’s not exactly Inception, but whatever. It’s a corny feel good film.

So, what did I like about it? Max Harwood who plays Jamie does a solid enough job, and one or two of the songs are earworms. There are a couple of humorous and emotional moments but unfortunately, the film falls flat on many notes.

Firstly, the problem is that it feels like a stage play. The dialogue which felt corny (but forgivable) on the stage was kept fully in tact for the musical. In the first and last scenes especially, this doesn’t really work as the dialogue was just dreadful. The director wasn’t brave enough to do any show don’t tell. Lots of Jamie’s mother’s scenes are with her friend Rae, where she just says what is going on. Yes, do this on the stage, with limited resources, but please on a big screen, show don’t tell. Oh, what is happening and how does this character feel? It doesn’t matter, I’ll just say it directly so any popcorn munching, fuel stockpiling idiot can work it out…

The scenes were set up more often than not like the stage play. The song “You are beautiful” is a carbon copy, and that’s fine. It’s just not imaginative. The main problem I had with the songs, is that they didn’t feel like they were being sung, but more that they were dubbed. There were actually a couple of times where I noticed the audio go out of sync with the lips, in a musical. Oh, come on.

Actually, the main moment I saw this was the emotional crux of “He’s my boy”, a song where the mother can thrive, but there was so much going on in the screen, that you couldn’t focus on what a quietly reflective moment this was. The mother really was screwed. Her important moments, such as selling her necklace and letting go of a past relationship were totally scrubbed from the film, so much so that by the time we get her pay-off we have forgotten she’s there.

One more complaint, then I’m almost done, and this is probably my biggest one. Richard E Grant’s casting as Loco Chanelle was cheap. He felt overly camp for the sake of it. If you didn’t like James Corden in The Prom, then surely you should be really upset with Grant for this. With the rise of Ru Paul’s Drag Race in the UK, it seemed odd they couldn’t find an actual drag-queen for this role and that would have felt far more appropriate as Grant didn’t quite hit the right notes in my opinion. His song about the AIDS crisis was a sensitive moment (at the expense of a rather humorous dramatic song from the stage play), although maybe after the fantastic It’s A Sin came out on channel 4 this year, it may have lost some of it’s impact. Albeit, younger audiences won’t have watched It’s A Sin, so maybe the comment is more fussy than anything.

Really, my problem was that the film didn’t get anywhere. Most of the kids seemed cool with Jamie in a dress, apart from one and that gets resolved far too quickly in the end. The mother doesn’t do anything. Jamie wears the dress he’s always wanted without many obstacles apart from a teacher, and his big issue, his father Finchy, doesn’t even get resolved. This is a stage problem as much as anything, but I guess the whole story comes across as a bit stagnant at times. Again, it doesn’t matter because it’s a light hearted musical, and I don’t really care that much.

Summary

A star turn from Max Harwood as Jamie doesn’t stop this film disappointing. Questionable sound editing, casting of Richard E Grant, and directorial choices left me feeling flat. Still, if you’re not as picky as me and want an easy feel good musical film, watch it. If not, why did you even bother reading this review. [Grade: D]. Better than Cats.

ETAJ is available for free on Amazon Prime

The Green Knight

I went to my Curzon having just seen a Pompey draw with Charlton and John Marquis miss a sitter, so I was already fairly tired. Therefore, I can say with full confidence, that if you want a high octane, sword fighting movie to wake you up, this isn’t the one for you.

Gawain (Dev Patel) is the nephew of the king of the town. He has never been that close with him, but one day, the King extends an olive branch. As they all sit down to their christmas dinner, a weird tree knight comes in and challenges a night to his game. They strike him, and one year later, they go to the green church and he strikes them back. For some reason, Gawain takes on this challenge, gets rattled and goes for the head. Of course, this was a devious trick from the tree god who survives the beheading, meaning a year later Gawain needs to go on a quest to meet his end.

The story is based on a Middle-English poem called Sir Gawain and the Green Knight, and seems relatively faithful. By this, I mean there are lots of random scenes which aren’t linked thrown together to look like a narrative movie. I really struggled to understand the point of some of these scenes, and the thematic consistency was loose at best. In the end, I did get the characters enough and there is a narrative in the last 20 minutes which felt much stronger and which was probably the best part of the film. Maybe the lack of narrative structure made it tougher to understand why our lead character was so willingly walking to his death.

While the story leaves you wanting more, the film looks and sounds brilliant. The cinematography is wonderful, with a vibrant green and an eerie grey both setting the moods at different times. It’s slightly experimental at times, but most of the things it goes for are brilliant. I particularly liked the scene with the giants which is much more atmospheric than I’d expect for such an independent film.

The soundtrack was also divine. The primarily ominous strings put together by Daniel Hart were subtle, but foreboding as we were being lead to our heroes demise. It really played into this natural, almost empty atmosphere.

Between the two of these, this film is an essential piece to watch at the cinema. I’m not sure how well it will translate into home viewing, as the atmosphere may become a bit lost. The pacing is pretty slow, which works, but it means that it requires a bit more focus.

Otherwise, the film is generally well acted. Dev Patel gives it a good go in an understated performance. His face says an awful lot, especially during the last 20 minutes where he says very little and his face does most of the acting. The maturing of the character can be seen in a way that a less capable actor would have struggled with.

Summary

A well acted, beautiful slow film, what The Green Knight may lack in a coherent, tight narrative, it makes up for in an eerie, atmospheric piece which is much better viewed on the big screen. [Grade: B] B

The Green Knight is available for free on Prime and is currently on a limited cinema run.

So, may we start?

I go to the cinema with Liam fairly regularly and usually we have mutual opinions on films. Some we disagree on, we may like some more than the other and that’s cool. Occasionally, one of us will enjoy a film, but it won’t be the other’s favourite (He liked Jungle Cruise?). However, I don’t think a film has divided us as viscerally as Annette. One of us thought it was a bloated mess and was glad it was over, the other considered it one of their favourites of the year so far. As I was watching, I could see how someone could love and hate this marmite film, considering those I’d recommend it to and those who I’d tell to avoid it regardless of my personal opinion. If a 2.5 hour long rock-opera with music made by the Sparkes Brothers takes your fancy, a film which brings the weirdness up to 11, Adam Driver playing a dark humoured comedian, and a film which has a cursed puppet baby as it’s central focus, then please read ahead. If this sounds like your version of hell, you won’t like the film. That’s okay. One of me and Liam didn’t like it either.

This is a very difficult film to describe without spoiling a major plot point, but I’ll try. The trailer above manages to give nothing away, which doesn’t help me work out what I can spoil either, but it’s a fun film to go into blind. Henry (Adam Driver) is an abstract comedian, and very succesful in his life, he falls for Anne (Marianne Cottilard). They then have a baby, and following an event, it is realised this young child has an incredible singing voice, so Henry gets his conductor friend (Simon Helberg) to help him make her a star.

The above sounds very standard, but the film is anything but. It’s impossible to describe without spoilers. The film has deceit, death and characters who are wooden puppets. I was lucky to have had a drink before hand, because fully sober, or in the wrong mood, this film would have rubbed me up the wrong way. It’s not accessible and in fact, you need to suspend your disbelief, and there is one thing that helps you do that, Adam Driver.

Back from his incredible performance in Marriage Story, Driver is absolutely incredible in this film. He gives everything and in his most stagey moments captivates you, like your one of the crowd. Going from a performer to an emotional wreck, the instability of his character leads to apprehension. He’s a ticking time bomb who likes control and can’t have it. He desires the voice of his daughter, but is in anguish when he hears it. This role is such a difficult one and he pulls it off which such suave. Despite not being likable, the character was so intriguing and powerful. There is a particular scene three quaters of the way through where he says nothing, but his face does all of the acting. Surely, he should be considered for an Oscar, if not an ASBO nom is likely to be headed his way.

The casting is absolutely excellent across the board. Marion Cottillard has an absolutely incredible voice, while Simon Helberg (Howard from the Big Bang Theory) is absolutely wonderful. There is a scene midway through where he is conducting a band, but talking to the audience, and he portrays so much emotion within his words and actions. Now he has the chance to show his talents, boy is he thriving. His scenes with Driver, including a wonderful example of physical theatre are all divine. There is also an actor who comes in late in the film (I shall not say who as it involves a spoiler) and despite how unlikely this seems, she really stands level with an actor as talented as Driver to give the film an incredible finale.

While the actors alone are a pleasure to watch, the set design and cinematography are brilliant as well. With an envious green tone throughout, some of the sets just feel brilliant, especially the hyperbowl one. Meanwhile, the camera movements are incredible ambitious in certain scenes, such as the opening one and particularly the Helberg conductor scene.

I’m this far into a review about an opera and haven’t discussed the music. It’s a wonderful alt rock soundtrack by Sparks. It goes from rock to operatic very quickly, keeping you on your toes. The music may not vary that much and there is a lot of Les Mis singing what you’re thinking, but it’s so big and grand and done with such emotion that it doesn’t really matter. The humour in these scenes is very meta and on the nose, as is clear in the opening scene which is a song called “May we start?“

While I found the film capitivating with its key ideas of jealousy and control, there is a lot that people won’t like. They might say it’s an overly-long repetitive film which swaps story telling for weirdness. That may be true, especially the latter half. Baby Annette is a marionette (showing the themes of control and her parents’ relationship with her) after all and requires a significant suspension of disbelief or a drink before hand. However, if you really are into it, the 140 minute run time flies by. Sure, the music is a bit samey at times, but it’s fine as the performances are what draws you in. People may wish it ended earlier, but we’d miss one of the best final scenes of the year.

It’s a really strange movie and it will divide you. This blog is where I write my opinions and I won’t apologise for that. Love or hate this film, you won’t be able to stop thinking about it.

Summary

Annette is a captivating, strange musical. You won’t have seen anything like it, so it’s a massive risk. While some will despise it, it is in my opinion one of the best films of the year with a world class performance from Adam Driver, a wonderful dramatic score and a beautifully shot film entrancing me and more than making up for any flaws within it. This film is the sort which could truly become a cult classic in the years ahead. [Grade: A]

Annette is on a limited cinema run now and is on MUBI in November.

I must apologise for my recent lack of updates on this website. I’ve been doing some covert surveillance for the alliance to ban popcorn (ABP). I have recently made some significant progress by infiltrating the Rebel Wilson Fan Club. To get in, I had to answer one seemingly simple question “What is your favourite Rebel Wilson Movie?” Of course, the correct answer is none, they are rubbish. However, I decided to bite my tongue. It was clear the answer they wanted was Pitch Perfect. For Fat Amy to have never gotten an Oscar was blasphemous, but as I went to type Pitch Perfect, I couldn’t do it. It wasn’t worth the cost of this. So I found a middle ground. My response was “Jojo Rabbit. Rebel Wilson is very funny is the movie.”. You may notice the typo and think that was stupid, but alas it was not. Fans of Rebel will naturally have lower intelligence, so this was the perfect intentional cover.

And it worked. We are now on the inside. So far, most communications have been utter rubbish. Someone sharing a mediocre dance videos and regular sharing of what a psychic said. Of course, it is the case that people who like Rebel Wilson will believe in such a fraudulent profession. Anyway, we are in and ready to break it down and I’ll update you with more progress soon.

Review Starts Here: Speaking of places which aren’t special, you are probably here to read a review of the film “Nowhere Special”. John (James Norton) is a 34 year old window cleaner who is a single parent to Michael, his six year old child. His life is incredibly unremarkable as he goes about his day, but we very quickly see his bond with his son is so special.  We see him going around and meeting families who are all talking about adoption and then it becomes clear to us that James is terminally ill and is looking for a new family to adopt Michael once he has passed away.

This is no easy task for John, who can’t quite work out exactly what he’s looking for. At one point he says he thought it would be as easy as yes or no and director Uberto Pasolini is incredibly good at letting us see these potential candidates and why John would think against them even though they are lovely people. These are offset by moments of John and Michael bonding, which are the most beautiful and fun moments over the course of the entire film.

As you will probably realise from this opening description, Nowhere special is a very sad film. It’s wonderfully tender and authentic. You believe in what you’re seeing on the screen.

James Norton does a wonderful job of bringing his character alive. Along with a great script, we are slowly fed more information which help us understand his psyche, especially around making this decision and we see the impacts of what people say to him, especially around the importance of having a mother around. These comments play on his doubts brilliantly. He has a subtle inferiority concern having raised his child on his own in a not very glamorous, yet incredibly caring way. He also has concerns about his legacy and a feeling that he is betraying his young son. For most of the movie, they don’t discuss what is going to happen, John wants to protect his child. However, much like The Farewell, there is a question of how much Michael is picking up on during all these home visits.

He also has to come to terms with his own mortality and limits. Part of the reason this task is so difficult is because he doesn’t quite seem to accept how little time he has left. This isn’t ever said as much out loud as it is in his actions.

As well as the script, the way the film is made is very subtle. It is an independent film with lots of intimate face shots which give us a full insight into the characters. The look of the film is grey and overcast, until one shot where it notably isn’t. This may just be a consequence of shooting in Ireland, or maybe it was more deliberate.

Of course, as we get to the conclusion, things become more emotional. These moments are dealt in a respectful, understated way. Throughout the movie, the make-up artists make the most subtle changes to make the lead character look slightly more ill and show his deterioration. Then when we see the conversations which are needed, they feel authentically sad and not confrontational, leading to a crescendo where I shed a tear.

Summary

Nowhere Special is a sweet intimate film with a tragic story and theme. It doesn’t avoid its difficult moments but deals with them in a respectful human way. The script is incredible and James Norton provides a career defining performance. [Grade: A-]