Movie review: Battle of the Sexes

Movie reviews

Good evening,

My BFI London Film Festival series of reviews (it opened with Breathe) continues with Battle of the Sexes – another potential awards contender for the year!

IMDb summary: The true story of the 1973 tennis match between World number one Billie Jean King and ex-champ and serial hustler Bobby Riggs.

As a side note, before the actual review begins, I just wanted to tell you about a different tennis movie that already came out this year and left me pleasantly surprised. It’s Borg vs. McEnroe and I suggest you check it out! Onto Battle of the Sexes!

Writing

Battle of the Sexes was written by Simon Beaufoy (who is known for writing such movies as Slumdog Millionaire127 HoursSalmon Fishing in the YemenThe Hunger Games: Catching Fire, and Everest) and the film’s script was inspired/based on real events.

Battle of the Sexes tackled/portrayed two big concepts – the LGBTQ+ identity and the feminism/women’s rights. Sadly, both of these thematical spheres are still highly controversial and not discussed enough (or if they are debated, then only really unproductively, with zero chances of reaching a consensus between the opposing sides). Some might say that both of these issues are more topical in today’s socio-political climate than they were in the 1970s.

The movie approached these topics head-on (feminism way more than the LGBTQ+ side) and had a strong overall message. Personally, I loved it, but then again, I am a woman, a feminist, and a liberal. The general audiences, full of individuals of different genders/ideologies/beliefs, might turn on this movie because of its strong message of social justice. There was one short scene in the movie, where Emma Stone’s character confronted a journalist and clearly declared that she was not fighting to be seen as better, she just wanted to be treated equally. I wanted that idea – one of equality – to be more overtly stated in the movie because I worry that a takeaway for some audience members might be the fact that women want to be on top, rather than by side with the other genders. It is a bummer that, for some, being pro-female ultimately translates into an anti-male stance and I would hate if the cinema-goers interpreted Battle of the Sexes in such a way.

Now, let’s discuss some aspects of the writing in more detail. I thought that the presentation of Steve Carell’s character was captivating: his personal background and problems very clearly affected his actions of the tennis court. The way his gambling addiction and his work – tennis – were combined was super interesting too. It was also fascinating to see how he embellished his toxic masculinity for the public eye. The whole commentary on tennis as an activity in the middle of the spectacle v sports dichotomy was brilliant. In addition, the conflicting position of Carell’s character’s wife, played by Elisabeth Shue, was just amazing to watch: she rooted for her husband because he was her love but she also seemed to be cheering for Billie Jean and her cause.

Lastly, Battle of the Sexes also toyed with the concept of the gentlemanliness/sexism line (where one ends and the other begins). It also showcased sport as the factor that triumphed any relationship in the character’s life. The picture also did a very good job of combining feminity with feminism (which are often presented as polar opposites, which they aren’t). Oh, and the jokes were good too!

Directing

Battle of the Sexes was directed by a duo of filmmakers – Jonathan Dayton and Valerie Faris – who are responsible for directing one of my all-time favorite pictures Little Miss Sunshine. They did a great job with this film and its nuances and layers. Battle of the Sexes was a great biographical drama, a good sports drama, and an amazing romantic drama. The extreme close-ups of the characters made the movie seem intimate, real, and raw. The 1970s setting was well-realized, from the retro logos to the colorful vintage tracksuits. The sequences of the actual tennis play were good too, the final one was especially intense. The body doubles were hardly noticeable, so props to the directors, the cinematographer, and the camera crew for cleverly shooting around them.

Acting

Emma Stone (Magic in the MoonlightIrrational Man) and Steve Carell (The Big Short, Cafe Society) played the two lead roles. Both of these actors had quite similar careers – they started in comedy and then tried to transition to more serious roles, with varying levels of success. For Stone, this performance is her follow-up to the Oscar win for La La Land and a strong contender for at least a nomination this year. For Carrel, the involvement in Battle of the Sexes might bring him another nomination too. Emma was extremely lovable in the role and exuded both strength and relatable vulnerability. Steve was really good too – he looked exactly like the real person and also made the guy into a somewhat likable human being, even if he was sprouting nonsense most of the time.

The supporting cast was also really good. I loved Sarah Silverman as the bossy manager, she was perfectly cast. Andrea Riseborough (Nocturnal Animals) was brilliant as Billie Jean’s lover, while Austin Stowell (Bridge of Spies) brought a lot of heart to his role of Billie’s husband. Finally, I loved to hate Bill Pullman (ID: Resurgence) in his role and adored Elisabeth Shue in hers!

In short, Battle of the Sexes was a great drama about equality, freedom, and fighting. Undoubtfully, it was well executed, but whether you will agree with its message, will entirely depend on who you are as a person.

Rate: 4.3/5

Trailer: Battle of the Sexes trailer

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Movie review: Breathe

Movie reviews

Hello!

Yesterday, I had a chance to attend a preview screening of Breathe as part of the BFI London Film Festival. Thus, my review of the film is coming out early. Hope you enjoy it!

IMDb summary: The inspiring true love story of Robin and Diana Cavendish, an adventurous couple who refuse to give up in the face of a devastating disease.

Writing

The novelist and awards’ nominated screenwriter William Nicholson (who wrote or co-wrote such movies as Elizabeth: The Golden AgeLes MisérablesMandela: Long Walk to FreedomUnbroken, and Everestpenned the script for Breathe and did a great job. The film’s story had to cover quite a wide time frame, so the movie mostly focused on the major events in the lead duos life and had quite a few time jumps. The opening sequence of Robin and Diana meeting and falling in love was very quick: with lesser actors in these roles, the romance would have seemed rushed, but, in the case of Breathe, I thought that the set-up was written and later realized on film effectively enough. That sequence also established the lifestyle that Robin and Diane led: adventurous, exciting, and active. It also neatly set-up their caste (middle/upper) and their friend group – both factors came into play in the plot a bit later.

Thematically, Breathe touched upon a variety of concepts, like the most unversal one of them all – love, but also sacrifice, survival, and bravery. It was also interesting to see how the family’s social class informed Robin’s survival (amongst other things). For one, his better than a lot of people’s financial situation allowed him to be relocated to a more convenient house and to have the funds for the medical machinery (the historical medicine was very well-realized in the picture). However, it was also really heartwarming and uplifting to see Robin taking his personal goal (to survive) and expanding it into a communal goal for the betterment of the whole community of the disabled.

Two other related concepts in Breathe were friendship and humour. Robin’s and Diana’s friends helped them a lot, both physically and emotionally. It was also just remarkable to see that, even though Robin had a condition that was a hinder to his life, that did not change the way his friends communicated with him: they were still joking around, partying, drinking. It was a different life, not a ‘normal’ one (whatever that means), but it was as valid as the life of any individual. Robin, Diana, their son, and their friends took the difficulties and made life into an adventure, with moments of both weakness and triumph. And Breathe not only told this story, but convinced its viewers of its remarkability and had a lovely message that life is always worth living, no matter the circumstances.

While the film generally was quite emotional (alongside being funny – tears would be replaced by a smile and vice versa), its ending was the peek emotional time. The jokes kind diminished it the last 15 minutes of Breathe and were replaced with a sense of sophistication. The last moments of romance were so pure and simple, which resulted in the line that defined this film – ‘My Love, My Life’. Lastly, the choice to die on one’s own terms was presented as a dignified and powerful action (I can hear all those against euthanasia scoffing while reading this sentence). It was A middle finger to faith and determinism rather than life itself.

Directing 

Breathe was directed by the king of motion capture Andy Serkis. This was his directorial debut and not a film one would expect him to direct, knowing his achievements with the CGI and motion capture technology (Serkis has already directed a film that is more in line with what he usually does: he has his own version of Jungle Book, but it keeps being pushed back in the release schedule so as to escape from Disney’s The Jungle Book’s shadow). I though that he did an incredible job with Breathe. The film was shot beautifully and the jumping around in time was handled as good as it could have been. I wish, however, that he would have made the film longer. Some of the scenes, especially at the beginning, felt like they were cut off too quickly, while the snapshot focus on the major events of the characters’ lives had a sense of urgency. Basically, I wanted Breathe to be allowed to breathe more (no pun intended or was it?). Having said that, the movie did slow down a bit as it was progressing: the shots were allowed to linger longer and the camera did not cut away as quickly.

Acting

Breathe has assembled a brilliant cast and it got especially lucky with its two leads, who had realistic and very sweet chemistry.

Andrew Garfield has become a new awards front runner, with last year’s Hacksaw Ridge and Silence (who knew that being replaced as Spider-Man will be the best thing that has happened to his career?). I’m positive that he will get a nomination this year, for that monologue at the conference alone. Maybe he even be rewarded to his technical difficulties of acting as a disabled person, similarly how Eddie Redmayne won for his transformative role of Stephen Hawking in The Theory of Everything.

Clare Foy has made the jump from the small screen to the silver one very successfully. Although, I don’t know if Netflix’s The Crown can really be seen as a TV show, knowing its production quality, budget, and amazing storytelling. I’d love if she got a few nominations for her performance too, I could definitely spot a few key scenes which can certainly be included in her awards’ reel.

The supporting cast of the film was good too. Tom Hollander (Tulip Fever, The Promise), in twin roles, was the most obvious comedic relief. Downton Abbey’s Hugh Bonneville starred as the inventor Teddy Hall, whose talents were crucial to the survival of Robin and I wish we would have seen more of him. Dean-Charles Chapman (GOT’s Tommen) and Ed Speelers (another Downton Abbey alumni) had small roles as well.

In short, Breathe was a great film that told an extraordinary, touching, and humorous real-life story, which was brought to life by a wonderful group of actors and a competent first-time director. Definitely a picture worth to be screened at the Opening Night Gala of the BFI London Film Festival

Rate: 4.2/5

Trailer: Breathe trailer

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5 ideas about a movie: Goodbye Christopher Robin

Movie reviews

Hello!

One of the early potential awards contenders has premiered, thus, let’s evaluate its chances. This is the review of Goodbye Christopher Robin.

IMDb summary: A behind-the-scenes look at the life of author A.A. Milne and the creation of the Winnie the Pooh stories inspired by his son C.R. Milne.

  1. Goodbye Christopher Robin was written by a novelist and a British TV/movie writer Frank Cottrell-Boyce and a TV producer Simon Vaughan and directed by Simon Curtis (who previously directed My Week With Marilyn – one of my favorite films about the movie business). Curtis’s directing was very competent. He paced the movie neatly and made it feel like an old-school classical drama. The way he shifted the focus from one character to the next (from the father to the son) in the two halves of the movie was also an interesting choice.
  2. The script tackled a lot of topics and concept that all made up the incredible real-life story behind Winnie-the-Pooh. To being with, although, ultimately, this narrative was one of hope and happiness, it was framed by a feeling of dread and loss: the filmed opened with a scene that made the viewer believe that the real Christopher Robin had died at war, thus, the following long flashback (the rest of the film) felt like it was destined to end badly. However, the opening scene turned out to be bait-and-switch and the picture indeed had sort of happy ending – as happy as you can get in the real world.
  3. Additionally, Goodbye Christopher Robin had a lot to say about the middle/upper-class family relationships in the 20th century (and also now). First, the role of the nanny as ‘the true parent’ was portrayed explicitly. Also, an engaging message about motherhood was stated: how giving birth does not equal motherhood – one has to earn the right to call oneself a mother. The film also did a good job of portraying Milne’s PTSD and his ideas about/against the war(s).
  4. The film also examined the issues of creativity and commerce. The sequence of the writing of the books was really pleasant and sweet: it was also nice to notice the real-life details that inspired the plot-points in the books. The movie also did a good job of portraying the jealousy and the damage that comes with fame at a young age. Billy’s childhood was similar to that of contemporary children on reality TV (Toddlers and Tiaras, Dance Moms, etc.). Did the father appropriate his child’s childhood for profit? Was he right to do so in order to bring happiness to the masses? Is the happiness of many more worthy than the happiness of one? Robin’s experiences as a child and his desire for anonymity in the army as an adult sure made for a heartbreaking example cause and effect.
  5. Fox Searchlight has definitely assembled a stellar cast for this film, which delivered impeccable performances. Domhnall Gleeson (Anna Karenina, The Revenant, Star Wars, American Made, Mother!, Brooklyn, Unbroken) shined as the frustrated artist and the difficult father. Margot Robbie (Suicide Squad, Tarzan) was equal amounts likable and despicable as Daphne. Kelly Macdonald (T2: Trainspotting) was amazing as the voice of reason and the source of heart (the nanny). However, all three of them seemed like they barely aged over the 3 decades – better make-up or some CGI would have been beneficial. Christopher Robin was played by two actors: the young Will Tilston, who looked like a real-life version of his character’s book counterpart (just brilliant casting), while Alex Lawther handled the more challenging grown-up scenes and displayed his acting talent that some of us have already had a glimpse of on Black Mirror (the ‘Shut Up and Dance’ episode).

In short, Goodbye Christopher Robin was well-made biographical drama, whose subject-matter was complex, layer, and fascinating. I’ll never look at Winnie-the-Pooh the same (a.k.a. as optimistically)….and I have its face of my duvet cover (waking up wrapped in depression?).

Rate: 4/5

Trailer: Goodbye Christopher Robin trailer 

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5 ideas about a movie: Detroit

Movie reviews

Hello!

The race issue has always been a prominent theme for the awards’ season. Nowadays, this problem has re-established itself as a contemporary issue and, with the street riots and the public displays of violence back in the news, Kathryn Bigelow’s cinematic return – Detroit – is more topical than ever.

IMDb summary: Fact-based drama set during the 1967 Detroit riots in which a group of rogue police officers responds to a complaint with retribution rather than justice on their minds.

  1. Detroit was written (and produced) by Mark Boal, who has also written Bigelow’s two previous features. The script was based on real events, while the characters were also inspired by real people. The film opened with a 2D animated sequence, which gave a brief history of the larger issue. However, the picture itself focused on the specific events in Detroit and on a group of people, in various positions, who got caught up in the event. This limited focus helped to go deep into the matter, while the inclusion of a wide variety of characters presented multiple sides of it. The film didn’t paint one said as inherently bad or good. Both of them seem to be operating in a gray area. For one, not all the police officers were abusive. Similarly, not all the rioters were actually fighting for anyone’s rights – they just looted and spread chaos for the sake of it.
  2. I really appreciated the human perspective on the riots, meaning that the personal lives of the characters took the front seat, while the riots were only the background setting. These two layers came together in the middle of the film, for the main sequence in the hotel, which was really hard to watch because of the blatant police brutality as well as stupidity (e.g. not even knowing how intimidation tactics work). One of the most despicable moments in the picture was a police officer tampering with the crime scene to spin the story in a positive light for him. It was also interesting to see how those police officers weren’t necessarily painted as racist but just simply awful people in general.
  3. It was also fascinating to see the differences in the portrayal of the local vs the state police vs the national guard and made me question the training and the background checks of the lowest tier of the police officers. There were some policeman in the film (from all levels) who actually attempted to help the people and I wish that there was maybe more of that type of representation for a more balanced view to be formed (unless there weren’t actually many police officers helping IRL instead of doing the damage). And the damage has been done in excess: by taking lives or ruining them; by making incorrect assumptions; by painting the innocent as the enemy because of their skin color; and by distorting and perverting justice. The ending of Detroit drove home the point that, while life goes on, the consequences – both physical and psychological scars – remain.
  4. Although Kathryn Bigelow hasn’t made a movie since 2012’s Zero Dark Thirty (and 2008’s The Hurt Locker before that), she has not lost an ounce of her style. Detroit’s visuals had her signature mobile frame and quicks zoom ins/outs – basically, a narrative picture’s interpretation of the documentary style. The structure of the film was good too – I liked how she relocated the main event from its usual 3rd act into the middle of the film.
  5. Detroit had a great cast full or both familiar and fresh faces. John Boyega (Star Wars VII, The Circle) was really good as the intermediator between the two sides, while Will Poulter (The Maze Runner, The Revenant, War Machine) was absolutely stellar – while Poulter has already played bullies, I have never hated him as much as I did in this film. The singers Algee Smith and Jacob Latimore (Collateral Beauty) had small roles, while Jason MitchellHannah Murray (GOT’s Gilly), and Kaitlyn Dever also co-starred. Jack Reynor appeared as well: he has been doing quite good, career-wise, by booking pictures like Sing Street and Free Fire – that Transformers 4 gig, thankfully, hasn’t done a lot of damage. Lastly, Anthony Mackie (Marvel, Triple 9) had a borderline cameo role too, he has previously worked with Bigelow on The Hurt Locker.

In short, Detroit was a great crime drama and also a great biographical picture, that told both the personal stories of the people and the communal facts of the event. The watching experience itself was quite heavy on a heart but incredibly engaging to the mind.

Rate: 4.2/5

Trailer: Detroit trailer

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5 ideas about a movie: American Made

Movie reviews

Hello!

Tom Cruise is back in the air in American Made, 30 years after he flown in Top Gun. Let’s see if he still has what it takes!

IMDb summary: A pilot lands work for the CIA and as a drug runner in the south during the 1980s.

  1. American Made is a real-life story of an American pilot Barry Seal, which was adapted to screen by Gary Spinelli – quite an inexperienced writer (his only other produced picture is 2012’s Stash House). The narrative of the film was extremely crazy and so far out there that it had to have happened (and the only place it could have happened was the dear old U.S. of A.). The plot presented in the movie felt a bit choppy but that was intentional. By the end of the picture, it was revealed that there was a framing device of the cassette tapes, full of memories that Barry recorded after the events had happened and recounted for the viewer in this film, so the different segments of the movie corresponded to the separate tapes and, thus, weren’t really connected.
  2. Doug Liman, known for a few things, like starting The Bourne franchise with Identity, creating the former power-couple Brangelina with Mr. & Mrs. Smith, and producing the 2014 film with multiple names that audiences didn’t know how to feel about – Edge of Tomorrow, directed American Made and did a good job. The pacing was fine if a bit slow, while the comedic timing was nearly perfect. The reaction shots of the characters, responding to the insane events around them, were super funny, while, by far, the most hilarious scene in the film was the sequence, where all the different law enforcement departments were fighting over the right to arrest Barry.
  3. The visuals and the cinematography of American Made seemed a bit confused to me. The frame would be super mobile one minute and then transition into a steady shot. A lot of handheld tracking shots and extreme close-ups were also used. Then the camera would switch to a long or even extremely long exterior shot. Lastly, there were cutaways to the actual homemade films that Barry made, that broke the fourth wall. It seemed to me that American Made was partially filmed as an indie documentary and partially as a classical Hollywood biopic. The era appropriate Universal logo at the start was a nice timely touch, though.
  4. Tom Cruise (Mission: Impossible series, Edge of Tomorrow, Jack Reacher series, The Mummy) starred in the lead role of Barry Seal and did an amazing job. While the real Barry Seal looks nothing like a Hollywood celebrity Cruise, I still believed his performance. How couldn’t I, when I still find Cruise extremely charismatic? It was also interesting to see him doing a more emotionally rather than physically demanding role. I don’t think I remember the last time, I saw Cruise in a dramedy like American Made, instead of a straight up actioner. His next film is MI6 as well as Edge of Tomorrow 2, where he will reteam with Liman.
  5. The supporting cast of the film didn’t stand out much but served their purpose. Sarah Wright was mostly just an eye-candy for the male viewers, while Domhnall Gleeson (The Revenant, Brooklyn, The Force Awakens, Anna Karenina, Unbroken) had quite an interesting role as a CIA agent – his nervous twitch and constant blinking were memorable parts of the performance. Glee’s Jayma Mays and Fargo’s Jesse Plemons (who also was in Black Mass) had cameo roles, while Get Out’s Caleb Landry Jones appeared in a similarly crazy role like the one he had in the highly regarded race-relations picture.

In short, American Made is a really funny take on a story that has insane twists and turns and a fairly sad ending. Tom Cruise, once again, flys high in a role that should be despicable but is likable instead.

Rate: 4/5 

Trailer: American Made trailer

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Movie review: Wind River

Movie reviews

Hello!

Let’s take a break from all the summer blockbusters of varying quality and give a chance to the dying genre of the regular movie. This is the review of Wind River.

IMDb summary: An FBI agent teams with a town’s veteran game tracker to investigate a murder that occurred on a Native American reservation.

Taylor Sheridan

Wind River is a thriller, written and directed by Taylor Sheridan. Sheridan’s name might be unfamiliar to a lot of people, but cinephiles should know him for writing two recent marvelous pictures that both had some awards potential – 2015’s Sicario and 2016’s Hell or High Water. While Sheridan didn’t direct any of his previous scripts (Sicario was done by Villeneuve, and Hell or High Water by Mckenzie), he does have some directing experience, having helmed 2011’s horror film, Vile. Wind River is being distributed by the awards whisperers The Weinstein Company. Their involvement combined with Sheridan’s previous track record might actually give Wind River a chance to make some ways during the proper awards season. More importantly, the film highly deserves that.

Writing

Sheridan, similarly to his previous movies, has written a story that’s both thrilling and entertaining but is also thematically clever. Wind River, a film inspired by true events, is set on a Native American reservoir and the first victim of a crime is a young Native American woman. The local police are not equipped to solve the mystery, while FBI is also not willing to pay a lot of attention. This fictionalized account goes very much in line with the real life events (so, ‘inspired by true events’ sentence is accurate). As an anthropology student, I have studied a few cases of Native American women going missing in the north of North America and the local authorities doing nothing to find them (in class, we mostly focused on cases in Canada but the film’s Wyoming’s case was very similar). Wind River’s story at least had a somewhat happy ending and some closure, however, that’s usually not the case in real life. So, it was really nice for a film to end with a sentence about the statistics of missing Native women –  a call to action, even if it will probably go unheard.

The depictions of the reservoir life seemed quite accurate. The problems within a Native American community – the drugs and substance abuse, poverty, the loss of identity and the marginalization – were all mentioned. The relationship between the white Americans and the Native Americans was represented in a variety of ways. The viewers saw both a friendly relationship of a white man being, more or less, a member of a community and an outsider white American being seen as a hostile stranger (at least in the beginning). Lastly, even though some of the ideas and relationships in the film could be seen as very specific and having a limited crossover, the overarching themes of the picture were survival and family – two extremely universal concepts that are understood across all cultures.

I have mentioned the historical facts as well as topics of the movie, let’s now turn our attention to the actual detective story. To begin with, I found it refreshing to see an FBI agent and a local hunter working together and listening to one another, rather than competing to reach the same goal. It was also nice to see a completely professional relationship without any pushed romance being depicted. The reveal of who the criminals were – 5 white, less than bright, drunk men from a working class background – was maybe a bit disappointing at first but, on a second viewing, very much grounded and realistic. Plus, the scene that followed the reveal – the rapid shoot-out – was unexpected in the best way possible and also oddly satisfying.

Directing

While Sheridan’s directing style wasn’t groundbreaking, it was still good in its subtlety. His direction for the picture was mostly elevated by his own amazing writing. Visually, the film looked nice – the sweeping shots of the mountains and snow were naturally gorgeous, while the sequence of the snowmobile action added an element of effortless coolness. The pacing was very good too – the film was constantly building to a crescendo and also delivered on it. Wind River was definitely a great effort from a sort of new director.

Acting

At the center of Wind River, two Marvel stars were reunited – Jeremy Renner and Elizabeth Olsen. They both did a magnificent job. It was nice to see Renner continuing his indie/awards career alongside his blockbuster-focused one (he was just recently in Arrival in addition to Civil War, MI5, and Age of Ultron). Elizabeth Olsen (Godzilla) has really come into her own as an actress and is probably now more famous (acting-wise) than her older sisters.

The supporting cast, thankfully, provided an opportunity for some Native American/First Nations talent to shine, like Gil Birmingham (he was also in Hell or High Water), Julia JonesGraham Greene, and Martin Sensmeier. Jon Bernthal (Baby Driver, The Accountant, We Are Your Friends) also appeared in the film, reuniting with Sheridan, after having worked on Sicario with him. 

In short, Wind River is an emotional, smart, and entertaining thriller that deserves more recognition that it will probably get.

Rate: 4.4/5

Trailer: Wind River trailer

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5 ideas about a movie: The Beguiled

Movie reviews

Hello!

A festival favorite and one of the strongest summer contenders for the awards season – The Beguiled – has premiered, so, let’s review it!

IMDb summary: The unexpected arrival of a wounded Union soldier at a girls’ school in Virginia during the American Civil War leads to jealousy and betrayal.

  1. The Beguiled was both written and directed by Sofia Coppola, latter of which was awarded at the Cannes Film Festival – she became the second woman ever to the Best Director Award. I’ve seen some of her films (The Bling Ring and Lost in Translation), but I’ve always had her other pictures on my ‘To watch’ list. I really need to do a movie marathon consisting of not just hers but of The Coppola’s family tree films.
  2. The movie’s script was based on a book A Painted Devil by Thomas P. Cullinan and the main topic being explored was the taboo issue of female sexuality and, especially, the repressed female sexuality and its dangers. Thus, all the character development mostly revolved around this issue, with not much attention being paid to anything else. The actions of the women did not make them into likable characters, while their choices at the end of the film were really quite shocking, which, I guess, was the intention. I did like the jab at the ‘Southern Comfort’, though – it’s the food that kills you. Literally.
  3. The writing for the lone male character was the best and he was the most well-rounded individual. His slay manipulations could really be seen in Colin Farrel’s (The Lobster, Fantastic Beasts) performance: he knew what each of the ladies wanted him to be and fulfilled that role. He was the older brother and an adult of the world to talk to, he was someone to impress and a potential suitor. Mostly, though, he was the personification of the budding sexual fantasies. These type of manipulations in his demeanor and the bursts of anger made me kinda see his demise as weirdly justified.
  4. Coppola’s directing was full of classical elements, like the steady camera, the old school ratio, and the long shots. These long shots really dictated the pacing of the film. The Beguiled was slow but carefully crafted, however, I did feel that, on a few occasions, some shots were lingering for too long without any intensity in them to make up for the lack of literal action. Nevertheless, I did enjoy the way Coppola realized the setting of the Civil War, with the noises of the battle going off in the background, but never allowed it to overpower the romantic drama happening within the house. The Beguiled wasn’t a Civil War film but a romantic thriller set during it. For the first hour, it was quite innocent (flirty and cute), while the last half hour was full of unforeseen cruelty and insane choices (all those repressed feelings were just bubbling over).
  5. I’ve already briefly touched upon Farrel’s smooth performance, so, now let’s look at the female cast. Nicole Kidman (Genius, Lion), Coppola’s usual partner Kirsten Dunst (Hidden Figures, Midnight Special), Elle Fanning (Trumbo, The Neon Demon), Angourie Rice (The Nice Guys, Spider-Man), and Oona Laurence (Southpaw, Bad Moms, Pete’s Dragon) all starred in the picture. The sexual tensions and frustrations were palpable in all of their performances with the exception of the youngest cast member Laurence.

In short, The Beguiled is a beautiful and slow art-house cinema offering that focuses on a theme that is still not as widely discussed as it should be, in the year 2017.

Rate: 4/5

Trailer: The Beguiled trailer

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5 ideas about a movie: Moonlight 

Movie reviews

Hello!

Welcome to probably the last review of the awards season. Today, we are discussing the frontrunner Moonlight!

IMDb summary: A timeless story of human self-discovery and connection, the film chronicles the life of a young black man from childhood to adulthood as he struggles to find his place in the world while growing up in a rough neighborhood of Miami.

  1. Moonlight was written and directed by Barry Jenkins, based on a play ‘In Moonlight Black Boys Look Blue’ by Tarell Alvin McCraney. Jenkins made his directorial debut in 2008, with the critically acclaimed indie romantic drama Medicine for Melancholy. Moonlight is only his second feature film.
  2. At its core, Moonlight is a coming of age story. However, it is a coming of age story like no other because it focuses on an individual that the mainstream media would rather forget – a poor black gay boy/teenager/man. And yet, even if a viewer’s identity falls on the other side of the spectrum, the movie still has universal appeal. The family problems, bullying, finding a life path for oneself, dealing with emotions, learning to forgive and reconnect – these are all topics of widespread appeal. The more personal issues of sexual identity and masculinity are also present. The picture paints a complex picture – it asserts that only an individual can decide who he/she wants to be, but also undermines this statement by showing a stereotypical outcome for the character of this background. Lastly, the film provides interesting commentary on the LGBTQ+ position within the black community.
  3. For such a progressive and modern movie, Moonlight has a very striking traditional structure – the film is divided into vignettes, like some movies from the past. Jenkins manages to create a deeply personal almost documentary-like feeling for the film. The long slow takes in the first part of the movie allow this story to unfold at its own pace, while the shaky and fast closeups in the other parts of the picture create a sense of disorientation and intimacy. Some pretty standard techniques, like the over the shoulder shots for the dialogue, are also implemented.
  4. In the first part of the film, the main character of Chiron, played by Alex Hibbert, takes on a passive role in order for Mahershala Ali’s Juan – the drug dealer mentor of Chiron – to shine. Juan is even the first characters that the viewer is introduced to. Ali has been getting a lot of recognition for his work in this film and that’s happening for a reason. Although he only appears in a handful of scenes, both his characters and the actor himself leave a striking mark on the picture. Juan, the drug dealer, seems to be the only positive influence on Chiron and they form a student/mentor type of relationship. The scene in which Juan teaches Chirton to swim is just beautiful. The question arises why would a Juan care for this child? Maybe because he saw a part of himself in the little boy?
  5. The teenager Chiron is portrayed by Ashton Sanders, while the adult Chiron is played by Trevante Rhodes. Rhodes does an absolutely incredible job in the third part of the film and I wish that his performance would have been rewarded much more. Nevertheless, this film really helped him to breakthrough into the business, as he was just cast in a mainstream movie – 2018’s The Predator. Janelle Monáe also appears in the film as the truth mother figure for Chiron. Her career has also kicked off to a good start – she starred in not one but two awards contenders in 2016, other being Hidden Figures. Naomie Harris also plays a small role of the actual birth mother of Chiron. Although the role is a bit stereotypical, Harris does a brilliant job. She has also probably hoped to be in 2 awards contender this year. She also recently acted in Collateral Beauty, which was supposed to be an awards movie, but that film did not materialize at all.

In short, Moonlight is a well-written and nicely directed personal story that takes the framework of a coming of age narrative and tells a unique story about an individual who has been relegated to the fringes of society for too long.

Rate: 4.5/5

Trailer: Moonlight trailer

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Movie review: Hidden Figures

Movie reviews

Hello!

Welcome to a review of a movie that would have been on my Top 10 films of 2016 if I have seen it before the end of the year (when will the studios realize the benefits of the global day-in-day releases?). This is Hidden Figures!

IMDb summary: Based on a true story. A team of African-American women provide NASA with important mathematical data needed to launch the program’s first successful space missions.

Similarly to Loving and Fences, Hidden Figures is a different kind of movie that spotlights the African-American talent. It’s set during the civil rights movements but doesn’t directly relate to it, even if some of the movement’s ideas are addressed in the film in a really powerful way. This movie also stands out as one of the major female-driven films of the awards season. It has been praised by critics but most importantly it managed to debut at the top of the box office list in the US, meaning that a lot of mainstream moviegoers saw it!

Writing

Hidden Figures was written by Allison Schroeder and the director of the picture Theodore Melfi, based on the book of the same name by Margot Lee Shetterly. I absolutely adored the film’s story. I knew about Katherine Goble Johnson before seeing the film (thank you, SciShow on Youtube) but I loved getting to know more about her as well as other African-American women working at NASA. I immensely enjoyed seeing all the different parts of NASA (the 3 of them worked in different departments – calculations, engineering, and computing) and the space race through their distinct perspective. It was actually really interesting to finally see a Cold War movie that didn’t focus on the local conflicts in Vietnam, Korea or Berlin, but a one which looked at the more passive but no less interesting space race.

In addition, I liked that not only the professional but also the private lives of the 3 main characters were presented. This made them all into more well-rounded and realistic characters. Hidden Figures’ writing also focused a lot on the importance of education, portraying it as a key to a better life. I have always been a strong believer of this statement, so the film automatically appealed to me. It was also quite cool that the picture underlined the importance of mathematics, as it is usually the most hated subjects in school (I actually quite liked it). The film’s story, even though set in 1960s, was also contemporary and very topical, if you think about its possible relation to the Women in STEM program.

Lastly, Hidden Figures tackled all kinds of discrimination, mainly sexism and racism but also general discrimination in the work place. Even though half a century has passed, all of these types of bullying are still happening today and should be stopped. Hidden Figures contributes to this conversation by a lot. And even though the film deals with serious topics, it still ends on a positive note and has a very satisfying ending. Katherine, Dorothy, and Mary are not just heroes to all girls or African-Americans. They should be idols to all underdogs and, let’s be frank, we are all underdogs in one field or another.

Directing

Hidden Figures was directed by Theodore Melfi and he did a superb job with his 2nd feature (St.Vincent was his directorial debut). The movie was balanced and well-paced, both entertaining and intellectually engaging. It was compelling, suspenseful, and intense and these feelings were only strengthened by the fact that it told a real and not a fictional story. The picture had a few very powerful scenes, like Taraji P.Henson’s character’s speech about the bathroom discrimination as well as Janelle Monáe’s courtroom speech. The film also has a few more personal and touching moments to counteract the powerful and serious scenes, like Mahershala Ali’s character’s proposal to Taraji P. Henson character.

Hidden Figures also had a magnificent soundtrack by Hans Zimmer, Pharrell Williams (he also produced the film), and Benjamin Wallfisch. It was upbeat and fun and really helped to lighten up the serious mood of the picture. When watching the film, I didn’t know who composed the movie’s music, but now, seeing who was involved, I’m not at all surprised that I liked the soundtrack. I mean, Hans Zimmer and Pharrell Williams!? Such a great combo of class and pop!

Acting

The three leading ladies of the film were played by Taraji P.Henson (Empire), Octavia Spencer (The Help, Snowpiercer, Zootopia, Divergent) and the newcomer Janelle Monáe. I absolutely loved the individual performances of all the actresses as well as their chemistry in the group scenes. In my mind, the cast is the film’s strongest element so it is not surprising that the movie received a lot of SAG nominations. Octavia Spencer has been getting the majority of the recognition but I would have preferred if they would have spotlighted Taraji P. Henson in the lead actress category instead. Spencer already had her big win with The Help andmore importantly, I thought that Henson’s performance was stronger. If the voters wanted to only reward the film’s in the supporting actress category (like they are doing now),  Janelle Monáe should have received a nomination instead of Octavia Spencer. Monáe is a true breakout star of 2016, as she was also in Moonlight. Don’t get me wrong, Spencer was great too but it would have just been nice to reward the other two actresses as well or instead.

The picture also has a splendid array of secondary characters who were brought to life by great actors. Big Bang Theory’s Jim Parsons played a familiar role (he can’t seem to escape the nerdy scientist part) and did a great job. His character was the one that bullied Katherine the most, but I think that he would have been jealous of anyone. Sadly, Katherine’s gender and skin color made her an easy target. Kirsten Dunst (Midnight Special) also played a part in the film and had an amazing line that just summed up the movie perfectly. I, of course, mean her statement about how the USA are fast to space but slow when it comes to the progress on the ground. Mahershala Ali, who was in Moonlight too, also had a small role and did a nice job. The mainstream audiences know him best from Luke Cage, so his career, both the mainstream and the indie parts of it, are on the rise. Lastly, even Kevin Costner (Draft Day, McFarland, USAdelivered his best and the most interesting performance in years.

In short, Hidden Figures was an excellent film that told an important and fascinating story but did that in an entertaining way. The movie was really well-made behind the scenes and it also had the best on-screen ensemble I’ve seen in a couple of years.

Rate: 4.8/5

Trailer: Hidden Figures trailer

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5 ideas about a movie: Loving

Movie reviews

Hi!

Welcome to a review of a film that started the trend of a different kind of ‘race’ movie being nominated for the big awards. No longer are the films about slavery or the civil rights moments the only ones that the African-American talent can get nominated for. This is a review of Loving.

IMDb summary: The story of Richard and Mildred Loving, an interracial couple, whose challenge of their anti-miscegenation arrest for their marriage in Virginia led to a legal battle that would end at the US Supreme Court.

  1. Loving was written and directed by Jeff Nichols, whose films have always received critical praise but never really got any recognition during the awards season. Loving is his 5th feature. The previous 3 of his films (haven’t seen his debut film Shotgun Stories) all really impressed me with their unique and very personal stories. Take Shelter and Mud were both really good but the original sci-fi picture Midnight Special (his other film from 2016) was like a breath of fresh air in the summer of disappointing sequels and reboots.
  2. In my intro, I mentioned that Loving is not a film about the civil rights moment but it actually kinda is. However, its approach and its focus on the civil rights movement are very different. Loving is not about the big events of the movement that one learns in a history class. It is a personal story about two people who just wanted to live their lives and create a family but were forced to first fight for those rights. And even though The Lovings‘ case was argued and won in the supreme court, the film focused more on the family rather than their court case. The movie almost made the court case and the couple separate from each other. While the court case became something extraordinary, Richard and Mildred remained an ordinary couple. This type of portrayal not only strengthen the argument for their case (that they are just two people who love each and have a right to be married) but also made sure that the viewers would understand that The Lovings aren’t just another name on paper but that they are, indeed, real people.
  3. Like I’ve mentioned already, Loving’s narrative is personal and particular. This goes in line with Jeff Nichols’s previous pictures, which are mostly character studies rather than narrative films. And yet, like Midnight Special or Take Shelter, Loving has a feeling of a wider context and of something bigger and greater being located in the offscreen space. From the narrative structure viewpoint, the film is more or less divided into two parts: The Lovings’ life before the case and the court case + its aftermath. Both parts are equally compelling. Visually, the film is also stunning. Seemingly insignificant shots seem to breathe life.
  4. Ruth Negga stars as Mildred Loving. Mildred was actually the one who started all the court proceedings, so it was really nice to see a female character/a real woman portrayed as an active individual. Negga’s performance was really great and I’m happy to see that she got a few nominations for it. Her career has been on the rise lately. From playing a supporting character on Agents of S.H.I.E.L.D. and having a minor role on Warcraft to starring on Preacher and being a Golden Globe and an Oscar nominee.
  5. Joel Edgerton, who previously worked with Jeff Nichols on Midnight Special, played the role of Richard Loving. His performance was of low energy and quite passive but historically accurate, as Richard has been described as a ‘quiet hero’. Edgerton has received some praised for his previous work on Animal Kingdom, Black Mass, and The Gift, but he also had a few flops with Exodus and Jane Got a Gun. Loving is definitely his best movie yet and I hope that it could be a start of a very positive streak. His 2017 films – Bright (David Ayer’s sci-fi co-starring Will Smith), American Express (Egerton’s brother’s Nash Edgerton’s (longtime stuntman) action flick) and Red Sparrow (Francis Lawrence’s spy thriller) – all have the potential to be great.

In short, Loving tells a different kind of story set during the civil rights movements. It’s slow, personal but universally hopeful. The film also has a lovely cameo from Michael Shannon – a long-time Jeff Nichols’s collaborator.

Rate: 4.5/5

Trailer: Loving trailer

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