5 ideas about a movie: Film Stars Don’t Die in Liverpool

Movie reviews

Hi!

Welcome to a review of a film with the best title ever. This is Film Stars Don’t Die in Liverpool.

IMDb summary: A romance sparks between a young actor and a Hollywood leading lady.

  1. Film Stars Don’t Die In Liverpool was written by Matt Greenhalgh (the British cinema writer). As the name suggests, this was a film about the movie business – a genre, that I, as a cinephile, am very partial too. However, the picture was also so much more than a love letter to cinema: it was also a survival story (not the best example on how to treat one’s cancer or any other serious illness), a faithful biography (it was based on the memoir by Peter TurnerJamie Bell’s character in the movie), and a timeless romance with a contemporary couple (these type of age dynamics in a couple – older woman/younger man – are still treated as an abnormal).
  2. The movie also explored the idea of growing old but staying old. It also mentioned bisexuality in the 1970s-1980s but didn’t dwell on that plot point. The film was set in the meeting point between the celebrity and the real world, which was an exciting boundary to consider. It also drew an interesting parallel between this real live romance and Shakespeare’s Romeo & Juliet. The narrative’s structure was also unusual: the movie’s story unfolded over the two time frames (past and present) and that allowed the story to have more an emotional impact, which stemmed from the contrast of the happy past and sad present.
  3. Film Stars Don’t Die in Liverpool was produced by Barbara Broccoli (longtime producer of the James Bond films) and directed by Paul McGuigan (he has directed some episode of Sherlock and Luke Cage as well as the movie Viktor Frankenstein). The visual transitions that McGuigan crafted between the aforementioned time frames, were quite beautiful and inventive. However, the CGI locations looked quite fake and took me out of the film more than once. The pacing was also really slow so the viewer had to be interested/invested in the story to keep watching. Lastly, I loved how the director replayed the same scene from two different perspectives and completely altered its meaning.
  4. Annette Bening (who has had a long and fairly successful career but only appeared on my radar last year with 20th Century Women) played the lead actress and was really great. Her actress character was portrayed as a bit of a stereotypical Hollywood celebrity – selfish, a bit aloof, and deeply insecure. This didn’t necessarily make her the most likable but certainly an interesting character. I loved the shots that focused on her makeup routine – they powerfully underscored the importance of the outer appearance of actors.
  5. Jamie Bell played the male lead of the film and was absolutely brilliant. I only remember seeing him in Fantastic Four where he didn’t have much to do, so I was quite blown away by his dramatic talents on display in this film. However, he has previously worked with Lars von Trier on Nymphomaniac and was also in Snowpiercer, so I think I should have known how good he was.

In short, Film Star Don’t Die in Liverpool was a lovely biographical drama with a real-life cinematic love story at its center.

Rate: 4/5

Trailer: Film Star Don’t Sie in Liverpool trailer

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Movie review: Call Me By Your Name

Movie reviews

Hello!

Another awards’ contender has landed in theatres! This is the review of Call Me By Your Name.

IMDb summary: In 1983, the son of an American professor is enamored by the graduate student who comes to study and live with his family in their northern Italian home.

Writing

Call Me By Your Name was written by James Ivory (a writer and director of mainly indie dramas), based on the book by Andre Aciman. To begin with, I’m sure that the LGBTQ+ focus of this film will automatically mean that it will be compared to the big awards winner of last year – Moonlight – especially since Call Me By Your Name is also supposed to get at least nominated. I believe that this comparison is quite unfair because, even though both movies tell coming-of-age stories of young men, exploring their sexuality, the circumstances and the details within a story are vastly different (race, class, time period, location, community – all these aspects of the two movies are on the opposite sides of the spectrum). Other topics of discussion, which will surely arise in the popular discourse, are the questions of consent and age of consent. I can already see the online fights brewing, with minimal productive arguments about legality and morality, and full of trolls who just want to see the world burn.

Anyways, I, personally, loved a lot of aspects of the writing. To begin with, I liked the settings of the movie quite a lot, both the spatial one (Italy) and temporal one (the 1980s). Both of these places/times posses a feeling of freedom and history mixed with timelessness – almost a fairytale-like setting, perfect for a story of first love. And the said romance at the center of the movie was written beautifully and richly. The film explored the interplay between masculinity and sexuality, sensuality and sexuality, innocence and maturity, and emotional love and physical love. It touched upon the ideas of art, creativity, and self-expression. It portrayed the teasing and flirting stages of the relationship so purely. Call Me By Your Name also examined both the development of its main character’s personality and sexuality, e.g. wanting to be with Oliver and/or wanting to be Oliver (copying his mannerisms (‘Later’) and style (sunglasses, shirts, the pendant of the star of David).

The movie also presented an unheard of example of accepting parents. It was so refreshing to see parents being so nonchalant about their child’s exploration of his sexuality. That final speech of the father was one of the best written fatherly wisdom scenes ever. My few criticisms regarding the picture were: 1) it was a bit too long. I know that it was made to be long so as to build up the stronger connection between the characters and the viewers but I also believe that this connection could have been created through a few quality scenes much better than through a bigger quantity of mediocre ones. 2) I also would have loved to see the film interrogate the role of women in this instance, whether as supportive friends or girlfriends for show a bit more.

In short, ultimately, Call Me By Your Name was a gorgeously written sad love story full of moments of hope and happiness and what can all of us ask more of life than brief moments to enjoy?

Directing

Call Me By Your Name by Luca Guadagnino – an Italian film director, best known to English-speaking audiences for his 2015 film A Bigger Splash with Tilda Swinton (a longtime collaborator of Guadagnino). He directed the film absolutely beautifully. Call Me By Your Name looked raw, rough, and unpolished – an example of natural beauty. The handheld camera brought the vibrancy to the film, while the close-ups helped to create an intimate and personal atmosphere. The lingering shots strengthened the emotional impact.

In addition, Call Me By Your Name explored the male sexuality by looking at the male physicality: the male bodies and their parts were at the center of the camera’s gaze. The topic of bodily physicality was continued with the inclusion of the sculptures into the movie. Some scenes were quite explicit and not the most comfortable to look at (*cough, cough*, peach). Other images were just beautiful and deserve to be framed in an art gallery. The closing image of Elio, looking at the fire and contemplating his experiences, was just so striking and a perfect visual to finish the film with.

 

Acting

  • Timothée Chalamet, who has previously appeared in Interstellar as well as some lesser-known indies, was absolutely brilliant as one-half of the main pair. The other half was equally brilliantly played by Armie Hammer, who is finally getting the recognition he deserves as an actor. He has experienced a relative level of success with The Social Network and J. Edgar and I also quite liked him in The Man from U.N.C.L.E., Nocturnal Animals, and Free Fire, however, I believe that Call Me By Your Name will be his ‘big break’ and maybe even get him an Oscar nomination. Chamalet absolutely deserves one too.
  • The supporting cast of the film was quite small and didn’t have much to do. However, the aforementioned moment of fatherly wisdom would not have been the same without Michael Stuhlbarg (Doctor Strange, Arrival) in the role of the father. It was also lovely to see some European actors joining the American talent on screen, namely Amira Casar (in the role of the mother) and Esther Garrel (who played Elio’s friend).

In short, Call Me By Your Name is an emotional, beautiful, and raw drama about love and finding oneself through it.

Rate: 4/5

Trailer: Call Me By Your Name trailer

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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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5 ideas about a movie: The Mountain Between Us

Movie reviews

Hello!

A counterprogramming drama that dared to go against Blade Runner 2049. This is the review of The Mountain Between Us.

IMDb summary: Stranded after a tragic plane crash, two strangers must forge a connection to survive the extreme elements of a remote snow-covered mountain.

  1. The Mountain Between Us was written by Chris Weitz (the writer of Cinderella and Rogue One) and J. Mills Goodloe (the writer of Everything, Everything, The Age of Adaline, The Best of Me), based on the novel of the same name by Charles Martin. The Palestinian/Dutch director Hany Abu-Assad directed the film. While his non-English projects have been well received and even gotten a few Academy Awards nominations, his latest English language project will definitely not reach that level of success.
  2. The Mountain Between Us could be briefly described as Sully + Everest + any generic romantic drama from the last century. As you can probably tell, that last part (the romance) was the thing that I had the most problems with. I really thought that the whole romantic aspect of the movie was extremely forced. I did not buy the two characters as lovers. There is such thing as getting closer when facing a crisis and then there is just bad writing. The strangers to dislike to love arc did not work at all.
  3. I also didn’t particularly appreciate the very traditional archetypes for characters based on their gender. Of course, the female of the two had to be the more emotional one (an old-school damsel in distress), while the man could be rational/logical. Also, the driving factor for the woman had to be family/love/marriage, while the male character would focus on his career more. Having said that, if you are gonna make your character into a doctor (what a lucky coincidence for the plot), I can at least applaud you for picking the specialization that I wanted to practice – neurology.
  4. Structurally, the picture was fine. The opening set-up was efficient and quick even if a bit far-fetched. However, the drawn-out conclusion felt unnecessary and like an afterthought. Visually, the film did look good, mostly because of the gorgeous mountainous settings. However, some of the accidents on the mountain, like the characters falling, seemed rather fake – problems with CGI? Lastly, the inclusion of the dog into the story did nothing for me, as not an animal lover, but I’m sure that it was a positive factor for a lot of moviegoers.
  5. The two leads of the movie were played by Idris Elba (The Dark Tower, Star Trek Beyond, Bastille Day, Beasts of No Nation) and Kate Winslet (Collateral Beauty, Triple 9, Steve Jobs, Insurgent). Their performances were satisfying, cause the both of the actors are professionals, but nothing extraordinary. Also, I feel like their performances were not as good so as to carry the whole movie, which was exactly what they had to do.

In short, The Mountain Between Us was a confused survival/romance drama that felt really dated. A definitely skippable (at the cinema) movie, though it would probably work as a rental.

Rate: 2.7/5

Trailer: The Mountain Between Us 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: Home Again

Movie reviews

Hello!

Home Again is trying to prove that the rom-com genre is not dead yet. Or is it?

IMDb summary: Life for a single mom in Los Angeles takes an unexpected turn when she allows three young guys to move in with her.

  1. Home Again is a directorial (and writing) debut of Hallie Meyers-Shyer, the daughter of Nancy Meyers – producer and director of various successful rom-coms (she produced her daughter’s first film too). The fact that it is somebody’s first movie explains a lot about it: Home Again was cliched, predictable, cringe-y at times, and real slow at others and, lastly, mostly consisted of elements and plot-points borrowed from other similar films. And yet, I didn’t hate it. If somebody needs an escapist, ‘no-thinking-required’ type of a film to relieve some stress or quiet one’s mind, I recommend you to see Home Again and experience somebody else’s first world problems instead of your own.
  2. The movie tackled three broad ideas: it attempted to be a traditional rom-com, with some sitcom humor, while also being a picture about the film business. Let’s start with that last part, which was, unsurprisingly, my favorite. As a cinephile, I appreciate films which appreciate films. The LA setting, the father director (who looked/came across as pre-Star Wars George Lucas), the aspiring filmmaker characters and their attempt to make a movie were all elements which I adored.
  3. The two other concepts/genres weren’t bad either (but, as I’ve said, nothing remotely original too). I liked the sitcom parts best out of the two, especially the silent reaction faces that the characters would exchange (then again, I love real-life humor). The romcom part was fine too. A bit fairytale-ish but we are talking escapism here (at least they left the ‘happy ending’ slightly ambiguous). By far the best detail of the romantic comedy side of Home Again was the reversal of the trope of the age difference between the two genders: the female character was the older one in a relationship (that is still very much a taboo thing – just look at all the news coverage about the fact that France’s president’s wife is older than him).
  4. The main thing that made Home Again work was its star – Reese Witherspoon (Sing). She has moved away from romcoms and came back to them constantly throughout her career. This instance of return was somewhat successful. She brought some heart into an otherwise shallow picture and was extremely lovable in her role, despite how cliche it was (I mean, are there any other occupations for mothers besides interior design ???).
  5. The film’s supporting cast wasn’t bad either and their performances were fine (again, appropriate for the picture). Nat Wolff (the most well-known out of the three co-leads because of TFIOS, Paper Towns, and Death Note), SNL alumni Jon Rudnitsky and quite an unknown actor Pico Alexander (who has the potential to be the next teen heartthrob) were all fun to watch. For some reason, Michael Sheen (Far From The Madding Crowd, Passengers, Nocturnal Animals) and TV royalty Candice Bergen also appeared in the movie (‘paycheck gigs pay the bills!’).

In short, Home Again is a perfectly serviceable rom-com that you have seen before. It’s a great rental/TV-rerun: a good background movie or a laundry/cooking movie. If you want a more modern take on the genre, check out The Big Sick

Rate: 2.8/5

Trailer: Home Again trailer

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Movie review: Tulip Fever

Movie reviews

Hello!

After being pushed back a few years, Tulip Fever has finally reached theaters! Does it have any Oscar potential as its cast list suggests?

IMDb summary: An artist falls for a young married woman while he’s commissioned to paint her portrait during the Tulip mania of 17th century Amsterdam.

Writing

Tulip Fever was written by a playwright and occasional screenwriter Tom Stoppard. His most recent previous film script was the one for 2012’s Anna Karenina. The film’s story and the writing, in general, started out promising but quickly wasted all the said promise. The opening, which set the context of the tulip market and the 17th Amsterdam, as well as the initial details of the actual plot, was quite interesting. However, the more the narrative unraveled, the more unbelievable it became. The ending was especially unsatisfying because the movie didn’t commit to going the full on fantasy route and having a fairytale ending but also wasn’t grounded enough for a realistic conclusion, so it just had one that landed somewhere in the middle. All the characters in the picture were way too interconnected and the twists and turns in the story were mostly lucky coincidences. The drama and the emotional core felt really fake and manufactured as well. Basically, Tulip Fever felt as an old school literary adaptation, which it was exactly: a contemporary yet classical historical romance novel (by Deborah Moggach) with typical yet modernized characters that was turned into a film.

While the final product did not turn out well, as I have said, the promise was there in the details. It was really interesting to see the love and the lack of love juxtaposed through sex scenes. I also liked the exploration of the women’s roles in a patriarchal system and how cunning they had to be to survive, and yet, how they also felt bounded by their duty (Vikander’s character was never entirely sure about her actions) I also appreciated the portrayal of Christoph Waltz’s character – a clueless man, living in privilege, and not even understanding his privilege yet not being malevolent about it. I also liked the hints at the concept of friendship and the hardships it has to endure when spanning multiple caste levels. Lastly, I was really glad to see a historical drama focusing not on The British Empire but on the player that preceded it in the world domination – Holland/The Netherlands.

Directing

Justin Chadwick, who has received some recognition a few years back for Mandela: Long Walk to Freedom, directed Tulip Fever and did a fabulous job with a flawed script. While he went along with the over the top dramatization of the story, nothing bad can be said about his visuals. Tulip Fever was a gorgeous looking movie, with beautiful and rich shots, full of textures and colors. The costume department should also get a raise because their spectacular collars contributed a lot to the magnificence of the look and helped prove the point that Holland was a powerful country. The artistic close-ups of Vikander reminded me of a fashion film or a high-end makeup ad too. If a movie career doesn’t work out for Chadwick, he should check out the advertising business.

Acting

Tulip Fever had a stellar cast, full of Academy favorites, old (Judi Dench, Christoph Waltz) and new (Alicia Vikander). Vikander (The Man From U.N.C.L.E., The Danish Girl, Jason Bourne, The Testament of Youth, Anna Karenina) did a fabulous job and she and Waltz (Spectre, Tarzan) made an interesting pair. Their more formal scenes had a feeling of warmness and respect, while their more intimate scenes felt very uncomfortable (which was the goal). In turn, Vikander’s and Dane Deehan’s (Valerian) scenes felt realistically intimate (sexier than Fifty Shades, though, that’s a low bar to be aiming for). BTW, I bought Deehan much more as a struggling lovesick artist than an action hero.

Judi Dench had a fun, although highly fictional role, in the film. Jack O’Connell (Unbroken, Money Monster)and Holiday Grainger (Cinderella, The Finest Hours) delivered neat and likable performances (Grainger’s voice fit the role of the narrator very well). Glee’s Matthew Morrison, Tom Hollander (MI5, The Promise), and model-turned-actress Cara Delevigne (Paper Towns, Suicide Squad, Valerian) also appeared. Lastly, Zach Galifianakis (The Lego Batman) played his typical role, that wasn’t necessary for the movie at all.

In short, Tulip Fever was a beautiful looking but a poorly written picture that had some stellar and wasted acting performances too.

Rate: 3/5

Trailer: Tulip Fever trailer

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Movie review: The Big Sick

Movie reviews

Hello!

I had a chance to watch, probably, the most original film of the year and I really want to talk about it. It’s The Big Sick!

IMDb summary: Pakistan-born comedian Kumail Nanjiani and grad student Emily Gordon fall in love but struggle as their cultures clash. When Emily contracts a mysterious illness, Kumail finds himself forced to face her feisty parents, his family’s expectations, and his true feelings.

Writing

The Big Sick was written by Emily V. Gordon and Kumail Nanjiani. They based the script of their actual relationship and Nanjiani also portrayed a version of himself in the film. Gordon has mostly written for TV before, while Nanjiani has done a lot of acting and writing for TV too. The Big Sick was their biggest writing project to date.

The aspect of the film, which has been discussed the most, was its diversity or, more specifically, the ethnicity/race of the main character/actor as well as the cultural commentary provided by the movie. Everyone in the industry was super surprised that a movie with a Pakistani-American actor in the lead could succeed financially (critical success seemed more plausible) or that audiences were actually interested in a different culture.

On top of being interested in a different culture, audiences just usually look for a quality film to watch, and The Big Sick was exactly that. I thought that it had one of the best scripts of the recent romance films because the relationship was written in a realistic manner. The dialogue between the two people was fresh and actually sounded like an interaction between real people: it had moments of awkwardness and comfort, fun and absurdity but was also very sincere. The slight gendered bickering wasn’t out of place either and felt like a believable part of a modern relationship. The cinematic cliches (e.g. a guy listening to the girl’s voicemails after the breakup) didn’t look forced or cringy but actually seemed cute and natural. Lastly, the way Gordon and Nanjiani wrote the ending of the film was just absolutely brilliant. They didn’t go for a grand reveal and an instant fairy tale conclusion but crafted a realistic ending to a relationship – the kind that people have to work for.

Speaking about the portrayal of a different culture, I thought that The Big Sick was very successful in that aspect. I loved how the film presented a varied Pakistani-Muslim community, with some people keeping up with the traditions more and some less. It was also very thoughtful of the movie to showcase a successful arranged marriage (while it might not be for everyone, it can also bring happiness). In addition, I loved how the movie wasn’t afraid to not just present the culture but to critique it (or even joke about it). One of the best moments in the picture was the scene where Nanjiani’s character voiced his doubts about the culture (are the American lifestyle and the Muslim culture at all compatabile?). I loved how in that moment, he both remained respectful of the culture but also wasn’t blinded by it and underscored the importance of his own personal experience. The inclusion of Nanjiani’s career plot-line into the picture also helped to interrogate the culture from more than not just the romance angle, while it also made the story richer and elevated the whole movie.

Another unique part of the film was Nanjiani’s character’s bonding time with his girlfriend’s parents (I haven’t seen anything similar in recent times or maybe ever). Their conversations were really genuine but also fun. The scene of the mother character showing her daughter’s childhood pictures to the boyfriend was so true to life. The way the parent characters were written to behave at the hospital – writing everything down and googling the symptoms – added another layer of realism to the film too. My only slight gripe was the fact that I didn’t think that the inner problems of the parent’s relationship were necessary. However, their addition to the movie didn’t detract from the main relationship too much.

Directing

The Big Sick was directed by Michael Showalter whose previous picture was also a romantic comedy – Hello, My Name is Doris, which was as unique as The Big Sick. Both of these pictures focused on unconventional romantic pairings, be it because of the age or ethnicity of individuals in the relationship.

I thought that Showalter did a very good job directing The Big Sick. I liked the overall aura of the film: it had the authenticity of a documentary film but was approachable as a narrative film. Plus, although it was an indie picture, it had the continuity and flow of a mainstream romantic comedy.

Moreover, The Big Sick was very nicely paced: the story progressed slowly but never dragged, instead, the movie cleverly took its time to build an emotional core of the narrative. The reveals in the story also came organically and weren’t shocking just for the sake of being shocking. Alternatively, they were, again, more focused on the sentimental impact.

Acting

  • Kumail Nanjiani had a few minor roles on the big screen prior to this picture, though he was most well known for being on the main cast of Silicon Valley (a series that I have yet to watch). I wonder how was it for him to play a version of himself – whether it was easy or extremely difficult and whether he had to withhold or embellish his personality for the camera. Overall, I believe that he portrayed the character’s arc very concincigly and I hope that this film’s success can lead to more movie roles for him.
  • Zoe Kazan was also very good in the picture. Her and Nanjiani’s chemistry was amazing too. Holly Hunter and Ray Romano starred as the parent and did a nice job as well. It was delightful to see Hunter in a better film than her last one (BvS) and Romano actually appearing on the screen instead of just voicing the mammoth in the endless Ice Age movies. Lastly, the film’s cast was rounded out by a whole bunch of stand-up comedians, who all delivered excellent performances.

In brief, The Big Sick is one of the most unique romantic comedies I have ever seen. Not only does it have a fresh perspective and an original concept to explore, it is simply just a very well made movie.

Rate: 4.5/5

Trailer: The Big Sick trailer

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Movie review: Baywatch

Movie reviews

Hello!

Welcome to a review of one of the first comedies of this summer’s movie season – Baywatch! Even though the online discussion around this movie has died down before it even started (the film flopped at the US box office), I still decided to see it because of the cast and the brand-recognition! Also, I’m almost 3 weeks late to the aforementioned discussion cause the movie only came out today, where I’m currently staying (the joys of international release schedules!).

IMDb summary: Devoted lifeguard Mitch Buchannon butts heads with a brash new recruit, as they uncover a criminal plot that threatens the future of the bay.

I vaguely remember watching some episodes of the original Baywatch TV series at least a decade ago. Besides, I have always wanted to be a lifeguard myself (especially during the summer), so seeing the shenanigans of the lifeguards had a personal appeal.

Writing

Baywatch’s screenplay was a mixed bag, like so many blockbuster scripts nowadays. What is for sure – the movie definitely did not need 6 screenwriters. The screenplay credits were awarded to Damian Shannon and Mark Swift, while Jay Scherick, David Ronn, Thomas Lennon, and Robert Ben Garant supposedly contributed to the story. Bear in mind, neither of these writers are proven or trustworthy (they haven’t had any big hits yet).

The narrative that these 6 gentlemen crafted for the film was fine. It didn’t make the most sense but I didn’t expect it too. The opening sequence worked (technically) – cause it set up the whole plot neatly (literally, every scene either introduced a character or a plotline – everything happened super mechanically and by the numbers – there was no breathing room) but it wasn’t the most interesting thing to watch. All the different plotlines – the drug smuggling, the lifeguard investigation, the lifeguard v police fight, Efron’s character’s redemption, Johnson’s character’s personal arc, the two (three?) romantic duos – did not really gel at times. The ending was also cheesy and illogical but since it was kinda entertaining and mostly funny rather than cringe-y, I could forget the storytelling flaws.

Another important aspect of the film, of course, this being a comedy, was the humour. Like the story, it was a mixed bag. Some jokes landed and seemed organic enough, while the others made the impression that the filmmakers were just trying too hard. My favourite moment, by far, was the scene where Johnson shouted to Efron: ‘Hey, High School Musical’. Actually, a lot of the nicknames by Johnson worked. The lunch table gag with the salad was good as well as the moment where Efron calls outs their plan for sounding like a plot of a TV show. Nice, 4th wall breaking wink, there. The pop culture references were mostly fine too. However, the whole arc of Ronnie (played by Jon Bass) was too awkwardly painful to watch. I really dislike cheap comic relief within a comedic movie.

The writing for characters was okay too, even if quite scarce. One thing that stuck out to me was the fact that Efron’s character – a swimmer – messed up in the Rio Olympics. That seemed like a jab at the actual real life US swimmer Ryan Lochte, who also got into a scandal in Rio. I might have been reading to much into it, though.

Directing

Horrible Bosses’ director and Pixels‘ executive producer (doesn’t sound too good, huh?) Seth Gordon directed Baywatch and was fine. The pacing was quite wonky – the film really slowed down before the third act, but the third act itself was entertaining enough. The other action sequences worked too – the nursery fight was fun and the lifeguard tryouts were cool – but the CGI could have been way better, the fire especially – it seemed so fake. The slow-mo – a staple of the Baywatch brand – was used extensively, but, in this case, I could let that slide. The final slow-mo shot with all of them running by the beach was actually quite cute, even if we have seen it in the trailers. The bloopers during the credits were also adorable – way more organic and fun than some of the actual jokes.

Acting

Baywatch had a really good cast. Dwayne Johnson (San Andres, Moana, Fast and Furious) basically played himself – a charming, likeable, and super fit man. Zac Efron also played a familiar role – he is always ‘less than clever but sweet guy that needs redemption’ in every comedy ever (Mike and Dave, Neighbours, We Are Your Friends). Efron’s and Johnson’s chemistry was okay but it was not as good as Johnson’s and Kevin Hart’s chemistry in Central Intelligence last year. Next for Johnson –  the Jumanji remake/sequel, while Efron is going back to his musical roots with The Greatest Showman.

Other supporting characters were played by Alexandra Daddario (also from San Andreas), a model Kelly Rohrbach (she was good as a replacement for Pamela Anderson – more natural looking too), Bollywood star Priyanka Chopra in one of her first Hollywood roles (she was fine but I could have done without so many lines stating that ‘oh, she is a woman’), Jon Bass (from Loving), Ilfenesh Hadera, and The Get Down’s Yahya Abdul-Mateen II (he is also gonna be in The Greatest Showman and also will have a role in Aquaman).

The two main cameos in 2017’s Baywatch were given to the two most important Baywatch TV series alumni – David Hasselhoff and Pamela Anderson. Hasselhoff’s cameo was better – he was written into the story, while Anderson’s appearance was just tacked on. Weirdly, Hasselhoff already had a cameo in a summer movie this year – he showed up in Guardians of the Galaxy Vol. 2.

In short, Baywatch is an okay summer comedy. It is not the funniest thing but not the worst either.

Rate: 2.75/5

Trailer: Baywatch trailer

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5 ideas about a movie: The Promise 

Movie reviews

Hello!

During the busy summer blockbuster season, I like to make time for the ‘regular’ movies too. The picture that I’m reviewing today – The Promise – falls exactly into this category.

IMDb summary: Set during the last days of the Ottoman Empire, The Promise follows a love triangle between Michael, a brilliant medical student, the beautiful and sophisticated Ana, and Chris – a renowned American journalist based in Paris.

  1. A few months ago, I raised a general question to my dad (who watches lots of movies with me): when will we run out of war stories? Well, I pretty much got my answer while watching The Promise and the short version is – never. Not only do we have lots of modern/current wars to tell stories about, but we still have a ton of untold tales from the past wars. The Promise focuses on the Armenian Genocide inside the Ottoman Empire during the First World War – not a topic that World War I movies have previously touched upon.
  2. The reason why The Promise decided to tell this particular story was because of the film’s source of funding. The entire budget was donated by an American businessman that has Armenian roots – Kirk Kerkorian – and his sole wish was to bring this story into the mainstream consciousness rather than earn money. Sadly, this film didn’t succeed at either – it was a box office bomb, which means that not a lot of people had a chance to witness this narrative.
  3. The Promise was directed by Terry George, from the script by the director himself and the screenwriter Robin Swicord. I thought that the directing was quite solid even if the film was a bit long and dragged at times. However, at the same time, I don’t think that they should have cut anything from the story – I applaud the writers for not oversimplifying the journey that these characters had to take. I would also like to praise them for creating 3 interesting leads who seemed both realistic and believable enough and were also cinematically engaging. It was also nice to see a level of objectivity in a war movie – I believe that it was really important to include a character on the Turkish side who was actually a good person rather than just to paint that whole nation as the villains.
  4. The emotional core of the film was also effective. This real-life story is tragic in itself and the dramatic love triangle (which worked and wasn’t too tearful or cliche) only added extra emotions to the script. A few of especially heart-wrenching moments were the sequence where Oscar Isaac’s character finds his village’s people slaughtered by the river and the shots of the makeshift red-cross flag, placed on the side of the mountain.
  5. The Promise had a stellar cast, full of gifted actors who delivered spectacular dramatic performances. Sadly, not a lot of them were of Armenian descent – I think it would have been nice to spotlight some lesser known Armenian talent. Oscar Isaac was absolutely wonderful – these are the types of roles that I’d like to see more of him in rather than the awful supporting roles in failed blockbusters (X-Men: Apocalypse). Having said that, I would also like to see him continuing to star in more successful big-budget pictures, like Star Wars. Christian Bale (The Big Short) was also really good, although it was quite unusual, seeing him in a role which did not require a lot of physical change. Charlotte Le Bon (The Walk, The Hundred-Foot Journey, Bastille Day) was also amazing. Probably the most well-known Armenian actress on the cast was Westworld’s Angela Sarafyan – she played a small but important role. Other non-American and non-English actors were also included (which seems better than just having Americans and Brits playing Armenians): Mexican Daniel Giménez Cacho, Iranian Shohreh Aghdashloo, Croatian Rade Sherbedgia, Dutch-Tunisian Marwan Kenzari, and Israeli actor Yigal Naor all had supporting roles in the picture.

In short, The Promise is a well-made historical drama that might not sound super original but is, nonetheless, very important, as it tells a forgotten story of the marginalized people.

Rate: 4.25/5

Trailer: The Promise trailer 

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