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Back to Black: Review

Chasing Amy 

With her signature look and soulful vocals, Amy Winehouse left an indelible mark on music and pop culture before her untimely death. But that’s why a film about her life presents such a challenge to film-makers. Is there any way of telling the story of the singer’s life - so often exploited in the tabloids - without simply retreading the tragic story that we already know? Thankfully, Back to Black just about pulls it off.

No stranger to a musician biopic with John Lennon film Nowhere Boy, Sam Taylor-Johnson has framed Back to Black as a way of giving Amy’s story back to her. Following Amy (Industry’s Marisa Abela) as she chafes against the limelight of her first album, it’s clearly more concerned with the key relationships that fuelled her greatest songs. But at the outset, Matt Greenhalgh’s script seems content to follow the rise-and-fall blueprint of every other biopic, running through key moments with the nuance of a Wikipedia entry. Yes, that means scenes where studio execs try and sculpt Amy in their image, and obvious set-up scenes that exist to explain the inspiration behind Amy’s songs. 

Where Back to Black works best is in its portrayal of the doomed love story between Winehouse and on-and off boyfriend and drug addict Blake (Jack O’Connell). Played with swaggering blokey charm by O’Connell, you can completely believe the way Amy falls under his spell, their chemistry soaring over a game of pool in the back of a pub (it’s more romantic than it sounds). Their tumultuous relationship feels like the most authentic part of the film, and lays out the context for Amy’s issues with addiction. 

Playing such a huge character, the film pretty much hinges on the lead performance. But what Marisa Abela lacks in physical resemblance, she more than makes up for in capturing the spirit of who Amy was - boisterous and playful, but a fragile girl beneath the surface. More impressive still is her ability to capture one of the most distinctive voices in music. While her North London accent wavers at times, her renditions of Amy’s songs will make it tough for you to separate the original from the cover.

Less successful is the way the film handles Amy’s relationship with her dad Mitch (Eddie Marsan) - which is to say, it doesn’t really handle it at all. In fact, there’s not a lot unearthed here that Amy enthusiasts won’t already know - people looking for more insight into Amy’s life are probably better off watching Asif Kapadia’s terrific documentary Amy. But if you want a reminder of the downsides of fame, packed with great songs and strong performances, Back to Black does exactly what it says on the tin.

While it lacks the soul and depth of some of Winehouse’s hit songs, Back to Black keeps you invested with captivating performances from Abela and O’Connell. 

★★★

#back to black #amy winehouse #3 stars #eddie marsan #matt greenhalgh #jack o'connell #review

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Robot Dreams: Review

To Chrome with Love

A story about a dog and his robot companion seems more fit for a children’s Saturday cartoon than a full-length film. But in the moving Robot Dreams, director Pablo Berger uses this initial concept to explore some surprisingly adult themes. What if, in a world where animals roamed New York City, a dog buys a robot friend to cure his loneliness? The results are gently funny and genuinely profound.

Based on the graphic novel from Sara Varon, the story is fairly simple. It’s also, apart from a few grunts and gasps, completely silent, using expressions and grunts to convey a wealth of emotion. In 1980s New York, we follow the lonely Dog (voiced in gasps and yelps by Ivan Labanda), who purchases a robot friend after seeing an ad on TV. So begins an epic love story in the Big Apple, soundtracked by Earth, Wind and Fire’s hit song September. But when a technical fault leaves Robot stuck on a beach, Dog is forced to adjust to life without his new partner.

While Dog experiences the pains of modern dating, Robot poignantly dreams of his freedom, and takes in a family of songbirds. That’s not even the most random scene in the film. Like Zootopia, Varon’s animal-filled world is full of funny hidden details and interludes. An Octopus in the subway delivers a spontaneous drum solo, two menacing ant-eaters challenge Dog to a sled race down the slopes, and a warthog hilariously washes a car. The bold choice to make the film silent is one that pays off massively, with Alfonso de Vilallonga’s affecting score filling in the blanks.

As well as being entertaining and well-animated, the film plunges unexpected emotional depths. The story of Dog and Robot’s relationship aches with sadness, and you’ll root for them to somehow make it work. It feels like an animated version of La La Land, exploring what it means to discover new rhythms and versions of yourself in a new partner. Not bad for a film about a dog and a robot.

A sweet and imaginative film that is way more touching than a cartoon about a dog and a robot has any right to be.

★★★★

#robot dreams #pablo berger #sara varon #alfonso de vilallonga #ivan labanda #4 stars #new york

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The Iron Claw: Review

Fighting with my family

With the super tight trunks and dodgy haircuts, there’s something wonderfully daft about the world of professional wrestling. But whether it’s The Wrestler or Foxcatcher, the sport has served as a serious topic to explore the destructive nature of masculinity in cinema. Weighing in at just over 2 hours, the latest to join the ring is The Iron Claw, a poignant true story about an ill-fated wrestling family. 

Set in 1980s Texas, we spend our time with the Von Erichs, an unusually close family of wrestlers and athletes. Led by patriarch and former pro wrestler Fritz Von Erich (a steely Holt McCallany) with his formidable wife Doris (a marvelous Maura Tierney), he rules the home with an iron claw, and looks to his four sons to carry on his wrestling legacy. He even has a hierarchy of what boys he favors - there’s olympic athlete Kerry (Jeremy Allen White), eldest son Kevin (Zac Efron), swaggering David (Harris Dickinson), and the more sensitive Mike (Stanley Simons). As the brothers jostle for a higher position, Kevin starts to have doubts about his father’s tough love approach.

While Fighting with my Family looked at how professional wrestling could bring a family together, this looks at how the need to appear macho in the sport can slowly tear a family apart. The Von Erich family is presented as a stifling cage that the brothers can’t escape, where talking about your feelings is taboo, and shedding a tear during a funeral too ‘unmanly’. There’s even a family curse that is invoked in the face of tragedy, when someone is pushed too close to the edge. From Sean Durkin, writer-director of Martha Marcy May Marlene, this is another excellent study of pent-up emotion and repressed feelings, with a show-don’t-tell approach that grounds the story, and makes major plot developments more upsetting. 

As the Von Erich family makes a name for itself in the world of NWA wrestling, the sudden fame and physical demands begin to impact the family dynamic in fascinating, devastating ways. This results in some truly layered performances, including Allen White as the troubled Kerry, and Simons as Mike, whose inability to fit the macho mold is the most heart-breaking plot point. While Kevin’s eyes are opened to a different kind of life with girlfriend Pam (a spirited Lily James), it’s fair to say the others aren’t so lucky.

Sitting ringside to this story of family turmoil is Efron’s Kevin, the brawny elder brother whose emotional maturity has been stilted by the pursuit of someone else’s dream. Trading in on his physicality (and a strong resemblance to He-Man), Efron is perfectly cast as a troubled man who chafes against his father’s domineering parental style, but struggles to put his doubts into words. It’s a complex and perceptive performance, allowing Efron to flex acting muscles that he previously hasn’t been able to. Like his central performance, the film aches with sadness and regret, acting as a plea for men everywhere: when the going gets tough, don’t be afraid to cry!

With a masterful grasp of tone and subtle story-telling that packs a punch, The Iron Claw is a sad and compelling story about the limits of traditional masculinity. 

★★★★

#iron claw #zac efron #harris dickinson #jeremy allen white #von erichs #lily james #fighting with my family #the wrestler #holt mccallany #sean durkin #4 stars

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The End We Start From: Review

The mother of all flood films

Having your first child is supposed to be a joyous moment for a mother (well, apart from the late nights and constant wailing). But in The End We Start From, the joys of motherhood are overshadowed by a nightmarish fight for survival. From first-time director Mahalia Mehlo, this artfully explores the very real fear of a mother who gets unlucky enough to give birth at the start of an apocalypse. 

Based on the novel by Megan Hunter, the story deftly explores the heights of motherhood through a prism of dread and uncertainty. Set in London, we follow a woman known only as Mother (Jodie Comer), on the brink of giving birth with her partner R (Joel Fry). However, as the camera lingers dangerously on blinkering TVs and leaking doormats, you get the sense that something isn't quite right. Sure enough, in one dazzling cross-cutting sequence, we watch as Mother's home is submerged in murky water, while she gives birth to newborn son Zeb (one of the cutest babies in recent cinema).

We soon learn that London is buried in a devastating flood, plunging England into a fight for resources by the countryside. This dystopian situation isn't that unthinkable, but Alice Birch's adaptation takes a controlled approach that ensures this world feels as natural and grounded as possible, making every sudden wave hit you like a ton of bricks. You are reminded constantly that danger and uncertainty lurk around the corner, from the sudden shock of tragic family losses to a nervy stay at a shelter that only allows one child and one parent per family - alarming news for R. Whenever Mother is suddenly set adrift on her own, you'll bite your nails off worrying about her safety.

Thankfully, there are some moments of levity amid the darkness. Katherine Waterson brings some much-needed humour as a resourceful fellow parent, while Benedict Cumberbatch has a short-but-memorable cameo as a kind stranger who reminds Mother of the life she left behind. Comer and Fry could've used a few more scenes together to sell their relationship, but their poignant separation is still the beating heart of the film. 

Of course, the film would be nothing without Comer, who carries the film (and a small child) on her capable shoulders. It's hard to think of a more skilled actress to lead this sort of film right now. We spend most of our time in her company, and whether she's teasing her newborn, making risky survival decisions, or generally struggling to keep it together, Comer is nothing if not watchable, investing you further in her plight. The resulting film is so effective that you might leave with a phobia of leaky roofs.

With impressively restrained work from Mehlo and Comer, The End We Start From is a bittersweet and often terrifying story about motherhood and human resilience.

★★★★

#the end we start from #review #katherine waterston #jodie comer #benedict cumberbatch #mahalia mehlo #4 stars #joel fry #apocalypse

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Next Goal Wins: Review

David vs Goaliath

It would take someone pretty brave to tell a football fan that there’s more to life than the sport. This, after all, is a sport that determines the moods of fully grown men week in week out. However, that message is at the heart of Taika Waititi’s Next Goal Wins, a plucky if conventional film that celebrates the highs and lows of the beautiful game - but mostly the lows.

Based on the true-to-life documentary of the same name, this is the story of American Samoa, a soccer team labeled worst in the world after a humiliating 31-0 defeat to Australia. Looking to reverse their fortunes, team President (Oscar Kightley) recruits disgraced Dutch coach Thomas Rongen (Michael Fassbender), whose anger issues left him without a job in the MLS. His mission is to somehow get this team of lovable losers to score a single goal, while maybe learning something about himself along the way.

If you think it sounds a bit predictable, you’d be right. This follows all of the conventions of an underdog sports story to a tee, from the cheesy montage sequences to that star player who just needs a bit of a nudge in the right direction. Which would be fine, if the humour was a bit more adventurous. 

Written by Waititi with help from Ian Morris (writer of both Inbetweener films), the emphasis is mostly on broad comedy about how useless the team is, which kind of feels at odds with the film’s message that winning isn’t everything. Waitii has a history injecting absurd comedy into meaningful stories (Hunt for the Wilderpeople and Jojo Rabbit), but beyond a few funny details, there’s not enough to laugh at here. And that’s without talking about Waititi's misfiring cameo as an eccentric priest.

Where Next Goal Wins excels is when it goes down the sincere route. With a cast full of newcomers from the Samoan Islands, it’s hard not to be a bit swept up by the story of this likable bunch. Kaimana is the standout as transgender footballer Jaiyah, whose story lends the film some much-needed colour and pathos. Elsewhere, the film revels in exploring the endearing oddness of the islanders, many of whom have other jobs on the island - even if they lack the right equipment (one character uses his voice as a police siren). 

The idea of a white man heading to a developing country to discover himself is a bit icky, but Fassbender is engaging as ever as a man battling demons on and off the pitch - even if he does feel like he’s in an entirely different film. With a slightly sharper script, this could’ve been a proper crowd-pleaser.

Neither funny nor moving enough to truly satisfy, Next Goal Wins ends up with a middle of the table finish.

★★

#next goal wins #taika waititi #michael fassbender #ian morris #oscar kightley #thomas rongen #jojo rabbit #hunt for the wilderpeople

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How to Have Sex: Review

The least Googlable film ever

From the smudged fake tan to the early morning puking rituals, you know what you’re getting with a party island holiday. But what often isn’t talked about is the undercurrent of peer pressure and uncomfortable sexual encounters lurking just beneath the surface. From first-time director Molly Manning Walker (cinematographer of the wonderful Scrapper), How to Have Sex artfully explores the seedy side of party holidays, with scenes that you’ll think about for days to come.

Like with any holiday, our protagonists start the film in super high spirits. We follow British teenager Tara (Mia McKenna-Bruce), who joins best friends Skye (Lara Peake, the loud one), and Em (Enva Lewis, the compassionate one) as they head to Malia to party after their exams. While they all give it large about the sexual adventures they’ll get up to (if they can convince people they aren’t 16), the pressure is on for Tara, who is yet to lose her virginity. 

Within seconds of this coming-of-age film, what stands out about How to Have Sex is how true to life everything feels. This is an environment that feels instantly recognisable - you can practically smell the sweat and sambucas. Drawing on her own holiday experiences, Manning Walker’s script uses dialogue that feels plucked straight from the Malia strip (right down to the girls’ love of cheesy chips), resulting in a convincing portrayal of female friendships. It helps that the cast play off each other so naturally, with a giddy energy and humour that might make you long for non-stop days of partying with your besties.

Well, almost. For while the opening revels in the joys of girls’ holidays, the second half takes a darker turn. As the group fall in with a trio of flirty lads next door, this gives rise to petty jealousies, peer pressure, and a few very triggering sexual encounters. It might all be vibrant visuals and lively party anthems, but cinematographer Nicolas Canniccioni frames the night scenes like a nightmare in neon, and you feel the sense of dread when Tara ends up wandering the lurid nightclubs alone.

When a pivotal moment comes at the halfway point, Manning Walker doesn’t shy away from the traumatising nature of sexual assault, and does a sensitive job of exploring the complex nature of consent. She’s aided by a marvelous debut performance from McKenna-Bruce, who manages to be both bubbly and full of life, while displaying a devastating sense of vulnerability. You might think you know what you’re getting from this party island holiday, but you’ll walk away with plenty more food for thought.

With star-making debuts from Manning Walker and McKenna-Bruce, How to Have Sex is a remarkable and sobering film about the meaning of consent. You’ll never think of party holidays the same way again.

★★★★

#how to have sex #4 stars #review #scrapper #molly manning walker #lara peake #enva lewis #mia mckenna bruce

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The Creator: Review

Rage against the machine 

7 years have passed since Gareth Edwards last made a film, but it’s been even longer since he’s been able to unleash an original vision on the world. But after years dealing with atomic lizards (Godzilla) and Star Wars rebellions (Rogue One), The Creator finds him on much more, well, creative ground. Free from studio control, his latest sci-fi film is practically bursting with interesting ideas and weighty topics, but just falls short with its execution. 

Exploring themes that feel eerily close to home, The Creator is an ‘AI film’ that was conceived before CHATGPT and creepy AI music covers were even a thing. In a handy newsreel montage, we learn how mankind has created AI replicants to do human jobs, and even take on the likeness of real humans (à la Blade Runner). But when an AI atomic bomb drops on LA, war breaks out between AI and the humans, leading pockets of replicants to hide out in Asia.

Fast forward to 2070, and we follow Joshua (John David Washington), an ex-soldier who lost his wife Maya (Gemma Chan), an AI sympathiser, and his unborn child during an undercover raid on an AI base. After years of grieving, Joshua is reluctantly recruited by the US army to locate and destroy a deadly weapon created by the mysterious AI ‘Creator’. But when the weapon turns out to be a small replicant child (Madeleine Yuna Voyles) who might have info about Maya’s disappearance, things start to get a bit complicated. 

If that sounds like a lot to take in, it is. From a script written by Edwards and Rogue One co-writer Chris Weitz, this is an ambitious film that explores big topics like AI sentience and what it means to be human, while also featuring earth-shattering scraps of an unprecedented scale. That it works is largely down to the human story that holds it all together. 

As Joshua and his unlikely charge ‘Alphie’ elude the pursuit of the androids and the US army (led by a ruthless Alisson Janney), the film settles into a bit of a road trip groove, as Joshua is forced to confront his anti-AI convictions. Despite all of the man on robot carnage on display, some of the best scenes simply bask in the chemistry of this central relationship, While Washington oozes paternal charisma and longing for his lost love, Voyles is unbelievably good in her debut performance as ‘Alphie’, an innocent child already wise to the brutalities of the world.

Just like with Rogue One and his debut film Monsters, this also profits from existing in a world that feels grounded and lived-in. You can completely believe Edwards stowed himself away for 7 years to realize all of the hidden details, from his futuristic vision of real-world locations like LA and Thailand, to the fascinating design of the android craniums. It’s so convincingly done that you won’t even bat an eyelid when you see some androids watching an AI strip show, or a cool scene where a human consciousness is momentarily plugged into a replicant corpse. 

If The Creator excels when it goes small, the opposite is true when it goes big. The action is gorgeously shot by cinematographers Greig Fraser and Oren Soffer, but the big battles feel strangely stilted, lacking the imagination on display elsewhere. The same can also be said for the film’s rushed final act, which doesn’t seem to know what to do with the ideas at its disposal. But thankfully, this won’t do much to hamper your enjoyment. With more imagination and fascinating details than your typical studio film, there’s plenty here to keep you invested throughout. With any luck, the wait for the next Gareth Edwards film won’t be so long.

Though it runs out of steam near the end, The Creator is a smart and frequently dazzling look at a maybe not-too-distant future, with a heart to match the scale of its ambition.

★★★

#the creator #3 stars #gareth edwards #rogue one #monsters #godzilla #allison janney #gemma chan #blade runner #john david washington #madeleine yuna voyles

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Scrapper: Review

The Kid is (not) Alright

In last year’s Aftersun, the tender relationship between a young father and his daughter was played out against the backdrop of a memorable summer holiday. Swapping sunny Turkey for not-so-sunny East London, Scrapper explores similar themes, but is somehow 10 times as vibrant. Seen through the eyes of a 12-year-old girl, this is a bouncy and colourful film with a touching story just below the surface.

Our protagonist is Georgie (a stunning debut performance from Lola Campbell), a spirited young girl who steps up to look after herself after her mum passes away. Together with best friend Ali (a scene-stealing Alin Uzin), Georgie steals bikes to sell for parts, and evades social workers who believe she’s in the care of an ‘Uncle Winston Churchill’. However, Georgie’s world is disrupted when her long absent father (Harris Dickinson), mysteriously reappears to look after her.

As you might expect, this doesn’t go down too well, as Georgie gives a cold shoulder to the man who left her and mum high and dry. From writer-director Charlotte Regan, this explores what would happen when two people not so good at expressing their feelings are forced to co-exist. While he never speaks about his reasons for returning from his new life in Ibiza, she keeps her grieving bottled up so the world can’t see it.

Like its main character, this hides a well of emotions behind a bubbly exterior. This isn’t just a typical story where two people realize that, hey, they might be more similar than they originally thought (although there is a bit of that). Instead, it’s punctuated by dreamlike narrative flourishes and moments of magical realism, including a dazzling moment where Georgie and Ali imagine what her father does for a living, or a trippy sequence involving talking spiders. It’s all visually stunning, with a pastel color palette and a striking variety of shots that manages to turn a disused warehouse into a fairytale setting.

Not all of its ideas work - a few whimsical mock interviews involving Georgie’s schoolmates and teachers are amusing to begin with, but don’t really add anything to the plot. But Scrapper is powered by such fun and wacky energy that you’ll barely have time to realize. It helps that the cast is a joy to be around, with chemistry that feels like dynamite - just watch that hilarious scene where Dickinson and Campbell narrate the lives of two complete strangers. Dickinson is brilliant as a wacky dad who Georgie notes is more childlike than she is, with a natural charisma that slowly works away at her defenses. But the standout performer is Campbell, a naturally funny ball of energy who carries the film’s more vulnerable moments on her capable shoulders. 

Featuring sparky debuts from Campbell and Regan, Scrapper is an inventive, funny and moving story about love and loss, told with all the exuberance of childhood. 

★★★★

#scrapper #4 stars #charlotte regan #harris dickinson #lola campbell #alin uzin #review #aftersun

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Joy Ride: Review

Crazy Hitch-hiking Asians

While comedies like Bridesmaids and Girls Trip have showcased the hilarity of female friendships, major studios have shied away from films about Asian girls just having fun. But, doing for raunchy comedies what Crazy Rich Asians did for rom-coms, Joy Ride is here to give the genre a much-needed shake up. Delivering a ton of riotous laughs at breakneck pace, this is one of the funniest films in years.

From first-time director Adele Lim (part of the writing team on Crazy Rich Asians), Joy Ride is tied together by a moving study of identity and friendships. We follow Audrey (Ashley Park), an uptight career woman who was adopted by an American family, and never met her birth mother. Learning how to blend in in a dominantly white neighbourhood, she met best friend Lolo (Sherry Cola), a slacker who protected her from racist bullies, and now specialises in body positive art installations (a lot of penises). When a big work opportunity presents itself for Audrey in Beijing, Lolo convinces her to hit two birds with one stone and meet the woman who gave her up for adoption. 

The journey takes a while to get going, as the two friends pick up Audrey’s college roommate Kat (Everything Everywhere All At Once’s Stephanie Hsu), a saintly actress with a wild past, and Lolo’s cousin ‘Deadeye’ (Sabrine Wu), a strange but endearing K-pop stan. But as with all joy rides, things don’t go entirely to plan. And after a run-in with a troublesome drug-dealer, this trip takes a turn for the chaotic. 

Written by Cherry Chevapravatdumrong and Teresa Hsiao, this keeps the laughs coming at a pace that’s almost hard to keep up with. You may think you’ve seen every scene of friends accidentally taking drugs in cinema, but you’ve not seen anything quite like this. The standout set piece is a mind-blowing sex montage featuring a Chinese basketball team, which brings plenty of tension, lust and repressed feelings to the surface. There’s also a hilarious K-Pop rendition of Cardi B’s ‘WAP’, which reaches a shocking climax the likes of which you rarely see in cinema.

Joy Ride might go to some crazy places with its comedy, but there’s still plenty of heart amid the chaos. While you can see the third-act complications from a mile away, Lim keeps things fresh with plenty of surprises and a dedicated cast that bicker and bond like real life friends. Everyone gets a moment to shine, though Sabrine Wu’s oddball performance threatens to steal many a scene. The result is a study of female friendships that feels sincere and true to life, as well as an affecting story about belonging that will have you reaching for the tissues. Fast, lean and full of freewheeling energy, this is not a ride you’ll forget in a hurry.

With first-time director Adele Lim at the wheel, Joy Ride manages to be both an outrageously funny comedy and a touching portrayal of female friendships.

★★★★

#eeaao #joy ride #4 stars #sabrine wu #stephanie hsu #ashley park #crazy rich asians #bridesmaids #girls trip #adele lim

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War Pony: Film Review

Doggy day care

Let’s get the elephant out of the room - War Pony is not a sequel to War Horse. It does however, feature a similarly loving bond between a man and his (stolen) four legged companion. Through this key relationship, the film gives us a little hint at what to expect - a compassionate look at manhood, and what it means to take responsibility for your actions. 

Written by Franklin Sioux Bob and Bill Reddy, we follow the intertwining stories of two trouble-making Lakota boys in the Pine Ridge Reservation of North Dakota. On one side we have Bill (Jojo Bapteise Whiting), a charming no-gooder who spends his time palming off stolen junk to anyone who’ll buy it, while completely eluding the responsibilities of fatherhood (and the calls of his jailed baby mother). On the other we have Matho (LaDainian Crazy Thunder), a baby-faced youngster whose habit of stealing and selling drugs puts him in the firing line of an abusive father.

This is heavy material to handle for any film-maker, let alone one just picking up the craft. But first-time directors Gina Gammell and Riley Keough (perhaps best known for her actorly duties) manage to find the beauty and levity in the sometimes harrowing material. They’re aided by the almost magical imagery of cinematographer David Gallego, who frames the characters against the hopeful backdrop of North American sunsets. 

Gammell and Keough also profit from drawing on a cast of newcomers from the local indigenous community. While this could’ve been a risk, it’s one that pays off massively, resulting in authentic performances that fully immerse you in this story. Whiting is a naturally charismatic presence who helps you overlook Bill’s litany of bad decisions, as does his hilarious affinity for looking after his pet poodle. Meanwhile, Thunder’s tough yet vulnerable performance keeps you fully invested as his character’s plight goes from bad to worse, playing out like a rural version of Kids.

Reflecting the free-wheeling nature of its characters, this stumbles slightly in a meandering middle half that might've benefitted from focussing on just the one plotline. For example, the disparity between Bill's situation and the rich white family he works for leads to some uncomfortable laughs, but the social commentary feels slightly undercooked. Still, this is just a small consequence of the film-making ambition on display here. With a clear passion and care for the material, Gammell and Keough have succeeded in giving a voice to people rarely seen in cinema. 

An empathetic and always compelling tale about masculinity and the responsibilities of adulthood, Gammell and Keough’s debut film is anything but a one-trick pony.

★★★

#war pony #review #3 stars #riley keough #gina gammell #david gallego #kids #Jojo Bapteise Whiting #LaDainian Crazy Thunder

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Are You There God? It’s Me, Margaret: Review

Hail Margaret

With so many great coming-of-age films about the lives of teenage girls, it takes something truly special to stand out from the flock. But if you think you know everything there is to know about teen adolescence, think again. With an authenticity and richness that feels stripped straight from the playground, Are You There God? It’s Me, Margaret is a coming-of-age film for the ages.

Based on the hugely popular Judy Blume novel, this story was written in 1970, but features themes so timeless that it could be set in the present day. Uprooted from the comfort of her home in New York, Margaret (a remarkable Abby Ryder Fortson) is a 11-year-old girl who is struggling to find her own voice after she and her parents (Rachel McAdams and Benny Safdie) move to New Jersey. Bewildered by her slowly developing body and the pressures of growing up, Margaret looks to a higher power to make sense of the changes in her life. 

From writer-director Kelly Fremon Craig, who brought us the brutally honest Edge of Seventeen, this is another film that completely nails what it means to be a teenage girl, albeit one 5 years younger. As Margaret desperately tries to keep up with her new quartet of friends, led by Elle Graham’s super-confident ring leader, Fremon Craig perfectly captures the heightened emotions of growing up . Women around the world will cringe in recognition as Margaret goes bra shopping with her mother, giddily anticipates her first period, and hilariously tries to increase her bra size through exercise. 

Instead of reinventing the coming-of-age wheel, Fremon Craig is more interested in exploring familiar milestones with honesty and a level of detail not seen since Eighth Grade. That she excels is largely down to an exuberant young cast who are a joy to be around, effortlessly selling the frustration and curiosity of being a teenager. There isn’t a bum note among the performances, but it’s Ryder Fortson’s expressive lead turn that gives the film its heart. Adorably oblivious and desperate to turn into an adult, you can practically feel the teenage longing and exasperation - especially when she reaches out to the big guy in the sky.

It also helps that the film makes you care a lot about the key adults in Margaret’s life. Kathy Bates is terrific as an overdramatic but big-hearted grandmother who jumps at the chance to introduce Margaret to Judaism, while McAdams shines as a bored housewife who sacrificed her artistic passions to keep up with her daughter’s life - their awkward exchanges are some of the most relatable moments of the film.

Alongside its excellent coming-of-age story, the film also doubles as a clever exploration of religion and identity. As Margaret yearns for someone above to listen to her prayers, and questions whether god even exists, the film makes a wider point about ignoring the pressures of the outside world, and being your own person. There may be plenty of coming-of-age stories out there already, but few of them come as mature and empathetic as this.

A heartfelt and hugely relatable film about the pressures of being a teenage girl, with a stunning debut performance from Ryder Fortson. If there is a God, he would put this on his watchlist. 

★★★★

#are you there god? it's me margaret #kathy bates #abby ryder fortson #edge of seventeen #eighth grade

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The Super Mario Bros. Movie: Review

It's-a meh

With the riotous fun of Dungeons and Dragons: Honour of Thieves and HBO’s compelling Last of Us series, it’s easy to forget just how bumpy the history of video game adaptations has been. In many ways, 1993’s Super Mario Bros. set the example for what not to do, stripping the game of its colour and carefree tone. Three decades later, The Super Mario Bros. Movie goes in the opposite direction, but ends up prioritizing fan service over a decent story.

For better or for worse, the plot feels stripped straight from the Mario games - which aren’t known for being plot-heavy to begin with. Mario (Chris Pratt) and hapless brother Luigi (Charlie Day) are two Brooklyn-based plumbers whose attempts to strike out with their own business haven’t quite gone to plan. Trying to make a name for themselves, they randomly find themselves pulled into a colourful alternative universe through the Brooklyn pipe system. But while Mario lands on his feet in the cheery Mushroom Kingdom, Luigi falls into the clutches of lonely villain Bowser (Jack Black), who has sinister plans to marry Princess Peach (Anya Taylor-Joy).

As Mario sets off on an unlikely quest to free his brother, we follow a familiar story about an average joe who is somehow destined for great things. Set in a beautifully realized world, children will lap up the colourful visuals and stunning animation, while Mario fans will be delighted with the sheer attention to detail here. Pretty much every aspect of the games is lovingly accounted for, from the cool question mark power-ups to the irritatingly cutesy side character Toad (Keegan-Michael Key).

If only as much love was lavished on its story and characters. Written by Matthew Fogel, who had a hand in Minions: The Rise of Gru and Lego Movie 2: The Second Part, the film struggles to make you care for any of its characters, least of all Pratt’s Mario, who feels a bit bland. Instead, it feels more concerned with shoe-horning aspects of the game in a way that doesn’t feel natural - right down to Mario’s signature catchphrases. 

In place of an interesting plot, what you get is an episodic trip through some of the game’s biggest highlights. Want to see some Mario Kart scenes? Here’s a convenient racing sequence on a rainbowed road. Want some platforming action? Here’s a random scene where Mario has to prove his capabilities seconds after meeting Princess Peach, here presented as a fearless warrior with little or no backstory. While The Lego Movie (also starring Pratt) was able to pay tribute to its properties in a refreshing way, this feels like a soulless exercise in tick-boxing.

This is directed by Aaron Horvath and Michael Jelenic, the brains behind the brilliant Teen Titans Go! To the Movies, but there’s little of that irreverent humour on display here. Though it has all the ingredients for a fun Mario film - the Mario Karts, fan-favourite characters, and side-view pipe action all make an appearance - the set pieces feel weirdly tame, while there’s only a handful of truly funny moments. Even Seth Rogen, virtually playing himself as Donkey Kong, fails to inject more than a laugh or two.

Thank the mushroom gods then, for Jack Black, whose big bad carries the film on the back of his signature spiky shell. Whether he’s terrifying his boney goons or penning a hilarious song dedicated to Peach (complete with cheesy music video flourishes), Black has a ball playing Bowser as a rockstar, stealing pretty much every scene he’s in. If the rest of the film had as much fun, this might’ve been a game adaptation worth pressing start for.

Powered up by an unshackled Jack Black performance, The Super Mario Bros. Movie slips on the banana skin of its weak story and lack of creative ideas.

★★

#super mario bros movie #review #nintendo #jack black #anya taylor joy #seth rogen #mario #luigi #princess peach #donkey kong #bowser #mario kart #minions #video game #2 stars #chris pratt #keegan michael key

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Air: Review

Good Will Jumping

When you think of the great underdog films - from your Rocky’s to your Dodgeball: A True Underdog Story - you might not think a huge shoe corporation would make the best subject. But before Nike became the shoe that everyone and their mother had a pair of, Nike was a plucky running shoe brand that desperately needed a big name to take it to new heights. In stepped Michael Jordan, and the rest was history.

Well, not quite - Jordan might’ve needed a bit of convincing on the way. This is the story at the heart of Air, a winning real-life tale about the unlikely team who changed the face of Nike forever. We follow Sonny Vaccaro (Matt Damon), a silver-tongued talent scout who spends most of his time rocking up to high-school basketball games looking for a star to front Nike’s basketball shoe. In need of a big win to help Nike escape the shadow of Converse and Adidas, Sonny risks his career and the future of the brand on Michael Jordan, a promising rookie with the world at his feet (literally).

Ben Affleck’s follow-up to the misfiring Live by Night, Air is a fascinating look at a little-known but pivotal moment in sporting history. Riddled with interesting details (wait till you hear how they came up with the ‘Just Do It’ tagline) and shaggy hairstyles, it’s refreshing to see the Nikey offices stripped back to their humble beginnings in 1984. Hollywoodisms aside, the scene where they first came up with the Air Jordan shoe is also a real doozy (who knew that it was designed by a bald middle-aged man with a lisp?).

As Damon fights tooth and nail to get his man, Affleck and screen-writer Alex Convey do their best to show the obstacles in his way, including a disgruntled board and some tense phone calls with Jordan’s cranky agent (Chris Messina doing his best Ari Gold impression). However, apart from a random bit of backstory for Jason Bateman’s likable marketing exec, you never really get a sense of the stakes involved for these heroes, robbing the film of the nail-biting ‘will-they-do-it?’ tension of Argo. 

However, like Nike’s sudden rise to prominence, this is a film that flies on the back of its feature players. Jordan insisted that Viola Davis was the only actress capable of playing his mother, Delores Jordan, and it’s not hard to see why - she’s ever-reliable as a resilient woman who isn’t afraid to play hardball to get the best for her son. Together with a warm performance from Julius Tennon as Jordan Sr, it’s almost enough to distract you from the absence of Jordan himself in key scenes - almost.

No underdog story is complete without a ragtag team to root for, and thankfully the Nikey team is a joy to be around. Chris Tucker is a funny, energetic presence as Nike VP Howard White, who was vital to getting the Jordan family onboard, while Affleck steals scenes as a kooky-but-kind-hearted CEO who loves to show off his bare feet and breathing techniques. In another winning reunion with his friend and collaborator, Damon is also perfectly cast as a man whose compelling words turned doubters into believers. Whether he’s sharing a heart to heart with Jordan’s mother, or delivering a compelling pitch to a crowded room, it’s in these moments that Air really takes flight.

There’s a lot to love and learn in this charming underdog story, but a lack of real stakes prevents Air from being a proper slam dunk.

★★★

#air #nike #ben affleck #chris tucker #chris messina #air jordan #michael jordan #viola davis #matt damon

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Decision to Leave: Review

Widow’s Peak

Look beyond the brutal violence and octopus eating, and there’s always been an undercurrent of romance to the films of Park Chan-wook. But while he flirted with themes of forbidden love in The Handmaiden and yes, even Oldboy, his latest film is probably the closest we’ll ever get to a Park Chan-wook rom-com. Well, a rom-com with an artful shot of an ant-ridden eyeball, that is.

This being Chan-wook, Decision to Leave is a romance story embedded in moral murkiness. Set in Busan, South Korea, we follow Hae-jun (Park Hae-il), an insomniac detective who puts more passion into his job than his joyless marriage. But Hae-jun’s usually upright moral code is put to the test when he becomes increasingly drawn to Seo-rae (Tang Wei), a Chinese caregiver who may or may not be responsible for the murder of her husband. 

As Hae-jun is pulled closer and closer to the prime suspect of his murder case, so too are we the viewers. While Chan-wook tones down the violence compared to his other works, watching Hae-jun and Seo-rae simply share words is no less magnetic, especially as mounting evidence - her husband was abusive, she doesn’t grieve - give their conversations an added edge. To emphasize the intensity of Hae-jun’s obsession, there are tantalizing sequences where he imagines himself next to Seo-rae during his illicit late-night stakeouts, so close yet so far.

Chan-wook shows a masterful grasp of the murder mystery format, while adding his own stylistic visual flourishes. Aided by the immersive cinematography of Ji-yong Jim, one dazzling, vertigo-inducing scene sees Hae-jun experience a real-time reconstruction of the murder on the mountain where it took place. At other times, he injects this detective story with the comedy of a buddy cop film, with Hae-jun’s hapless sidekicks (Go Kyung-pyo and Kim Shin-young) proving a reliable source of laughs.

If the twists and turns lack the impact of Oldboy or The Handmaiden, this compensates with the searing chemistry of its central pairing. To their credit, you’re much more interested in how the relationship will develop than you are to any supposed whodunnit. While Hae-jun is compelling as a tormented man conflicted between duty and his attraction, Seo-rae is a charming and mercurial presence as the widow who may be hiding something beneath the surface. With close-ups and terrific sound design intensifying every breath and physical touch, you can cut the sexual tension with a knife - right up to it’s stunning ending. You’ll never look at lip balm the same way again!

A beguiling, visually arresting and utterly stylish romantic thriller, powered by assured direction and the palpable chemistry of Hae-il and Wei. 

★★★★

#park chan-wook #decision to leave #oldboy #the handmaiden #park hae-il #seo-rae #thriller #korean

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Catherine Called Birdy: Review

We need to talk about Catherine

On first glance, Lena Dunham might not be the first name you think of to adapt a children’s book set in medieval England. But dig deeper, and it’s clear to see why the creator of Girls was drawn to direct this timeless story of teenage rebellion. Following a plucky heroine who is struggling to find her place in the world, it has a lot to say about the difficulties of being a young woman, and a lot of fun doing it.

Based on the children’s novel by Karen Cushman, our guide into 1620 England is Catherine (Bella Ramsey) - affectionately called ‘Birdy’ because of her caged pets - a mischievous 14-year-old girl who would rather roll in the mud or wield a sword than be a lady. But this carefree lifestyle is put in jeopardy when her feckless father (a brilliant Andrew Scott) leads the family into financial ruin, forcing him to try and marry off Birdy in a bid to rake in some much-needed coin.

While the film starts off quite slow (the diary entry voiceover doesn’t entirely work), here it really kicks into gear. Starting with a hilarious cameo from Russell Brand’s proud squire, we watch as Birdy does everything in her power to deter her would-be suitors, from arsonism to veiled threats of dismemberment. After shining as Lady Mormont in Game of Thrones, it’s a dream leading role for Ramsey, who nails her character’s feisty temperament, and throws herself into the more outrageous comic moments with reckless abandon. While Billie Piper gets comparatively little to do as Birdy’s mother, Ramsey is the perfect foil for the exasperated Scott, whose frustrated outbursts lead to some of the film’s funniest scenes. 

At times, you’d wish the film focussed more on this father-daughter relationship - especially during an inconsequential subplot about an uncle (Joe Alwyn) that Birdy has a crush on (ew). But for the most part, this is a lark. Dunham has a ball exploring what ideas like sex and virginity might look like through childlike eyes, drawing sharply written jokes from some ludicrous situations. With a strong supporting cast including Paul Kaye’s vile but wealthy suitor, and Sophie Okonedo as a cheerful new bride who has learned how to play the system, it highlights the absurdity of a world where ambition and money outrank love. Think Bridgerton meets Monty Python and the Holy Grail.

Combining heart, smart observations and a playful sense of humour, Dunham and Ramsey prove a match made in heaven in this winning coming-of-age tale.

★★★★

#lena dunham #catherine called birdy #bella ramsey #lady mormont #joe alwyn #sophie okonedo #paul kaye #russell brand

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Doctor Strange in the Multiverse of Madness - Review

There’s method to the madness

Despite featuring a villain who turned half of humanity into dust, Marvel has often been seen as the family-friendly brother to the darker shades of DC. This a universe where heroes quip, save the day, and always seem to escape the clutches of death - right? Well, not quite. You might think you know the MCU formula inside and out, but on the evidence of Doctor Strange in the Multiverse of Madness, this universe still has the capacity to surprise, and even to scare.

When the live-action multiverse first opened up in Spider-Man: No Way Home, it presented infinite possibilities for MCU film-makers. Sure, seeing heroes high-fiving other versions of themselves is cool, but the multiverse could also now be exploited by evil forces looking to manipulate alternate realities. And who better to navigate these nightmarish scenarios than Sam Raimi, a director who not only helmed the Spider-Man trilogy, but oversaw the gory craziness of Evil Dead?

In a bracing opening sequence, we see an alternative reality version of Doctor Stephen Strange (Benedict Cumberbatch) losing his life while protecting a mysterious super-powered kid, America Chavez (Xochitl Gomez), from a fearsome beast. Back to our version of earth, and a dejected Strange watches on as his former lover Christine Palmer (Rachel McAdams) gets married to a man who isn’t him. Before he can drown his sorrows in some cake, he runs into America and another ill-meaning monstrosity, sent by someone who wants to steal her power - multiversal travel.

This is where the madness of the title comes in. Instead of trying to outdo the spectacle of No Way Home, this completely changes tact, swapping Marvel’s usual light-heartedness for the sensibilities of a horror chase movie (there’s even a groovy cameo for horror aficionados). After a wicked twist that is difficult to talk about without spoiling, Raimi’s film goes to some truly unexpected places. With effective jump-scares, grisly deaths, and a Carrie inspired chase sequence, this fully pushes the boundaries of its child-friendly rating. Doctor Strange’s first director Scott Derrickson flirted with horror elements, but here is the closest that Marvel has come to full-blown slasher.

At times, the multiversal hijinks on display here means that some characters get short-shifted - particularly McAdams, who doesn’t get a lot to do here. For the most part though, Raimi and screenwriter Michael Waldron are able to deliver crowd-pleasing reveals and perfect character moments without sacrificing the quality of the story-telling. 

Gomez makes for a smart-mouthed foil to Strange, even if her character doesn’t get as much development as Strange’s last web-headed protege. Meanwhile, Wong (Benedict Wong) is absolutely loving the title of Sorcerer Supreme, much to the amusing annoyance of Strange. While he does occasionally feel side-lined amid all of the chaos, Cumberbatch uncovers new layers to the Master of the Mystic Arts, whose journey from self-important surgeon to selfless hero is convincingly played. 

There’s an interesting counterpoint between Strange and Wanda Maximoff (Elizabeth Olsen), who handle unhappiness in their realities in very different ways. In truth, though this is a Doctor Strange film, at times this feels more like an extension of the excellent WandaVision. Still dealing with the aftermath of those events, Olsen threatens to steal the show, nailing the sorrow of someone who regularly dreams of the life and family she sacrificed. As her loss develops into simmering resentment, you can completely see how she comes to embrace the unhinged moniker of Scarlet Witch.

Featuring super-powered beings like Strange, Wanda and America, the film’s creative action sequences are a feast for the eyes. Musical notes become weapons, bodies are contorted, and one jaw-dropping scene sees our heroes switch between a visually diverse range of realities, from live-action to cartoon. But Raimi saves his best for last - a demonic and visually ambitious final act that could be the fuel of nightmares. Marvel might not be so family-friendly after all.

With imaginative action sequences, assured scares and audacious plot developments, Raimi has masterminded Marvel’s loopiest - and scariest - film to date. 

★★★★

#doctor strange in the multiverse of madness #doctor strange #sam raimi #benedict cumberbatch #wanda maximoff #elizabeth olsen #wandavision #spider-man no way home #review #mcu #benedict wong #america chavez #Xochitl Gomez #rachel mcadams

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The Lost City: Review

Don’t judge a book by its cover model

At one point during The Lost City, a topless hero drops the cliche ‘don’t judge a book by its cover’. This could well be the film’s mission statement - take life as it comes, and you might just surprise yourself. Well, there aren’t many surprises in store here, but that isn’t really the point. A charming cast and some inspired laughs are just enough to make this adventure worthwhile. 

Written by Seth Gordon, the brains behind Horrible Bosses and Identify Theft, the plot is as wacky as you’d expect. Loretta (Sandra Bullock) used to be an archaeologist with her late husband, but now she’s the author of a smutty adventure series (think Fifty Shades mixed with Indiana Jones) that has become more famous for its dashing and dim-witted cover model, Alan (Channing Tatum). On a tour to promote her poorly received new book, she is abducted by the bitter son of a media tycoon (a hot-tempered Daniel Radcliffe) who wants her help to locate the island treasure described in her book. Alan, who might also have feelings for Loretta, sets off on a daring rescue mission.

No ancient medallions for guessing where this is heading. As Loretta and Alan are unwittingly thrown together on a dangerous island, expect a lot of soul-searching, near scrapes with death, and villainous monologues. Thankfully, that doesn’t make this any less entertaining. 

Directors Aaron and Adam Nee keep things fast-paced and funny, with a madcap streak of humour lined through it. There’s also a memorable cameo from Brad Pitt as a spiritual military man who makes Liam Neeson look like a puppy. Not all of the jokes land, and a subplot about a fearless publicist (Da’Vine Joy Randolph) detracts too much from the action, but it’s hard not to be swept up by the sheer silliness on display here.

The Lost City is at its best when its leads are sharing the screen. While Bullock can do high-strung deadpan comedy in her sleep, Tatum threatens to run away with the film as a well-meaning but completely useless ‘hero’ who is way out of his depth. Their chemistry is truly inspired and draws in the biggest laughs of the film, including a hilarious scene where they try to justify sending a goon to his death. It’s with this dream pairing that the film really strikes gold. 

While the story isn’t exactly a page-turner, The Lost City is elevated by some silly laughs and a comic pairing to treasure in Bullock and Tatum.

★★★

#the lost city #review #sandra bullock #daniel radcliffe #channing tatum #seth gordon #3 stars #indiana jones #brad pitt