2020-2029, Film Review

Black Panther: Wakanda Forever (2022)

Posted on November 27, 2022 by Martin: Through the Silver Screen

Black Panther: Wakanda Forever – Film Review

Cast: Letitia Wright, Angela Bassett, Lupita Nyong’o, Danai Gurira, Winston Duke, Dominique Thorne, Florence Kasumba, Michaela Coel, Tenoch Huerta, Martin Freeman

Director: Ryan Coogler

Synopsis: Following the passing of King T’Challa, the nation of Wakanda finds itself increasingly isolated and weakened as it faces a new threat in the form of Namor, the leader of an all-powerful underwater nation…

Review: It would be something of an understatement to say making a film is a massive undertaking which requires a herculean amount of effort from a troop of people both in front of and behind the camera, especially for a tentpole blockbuster. However, for the sequel to 2018’s phenomenally successful Black Panther, the typical challenges facing the cast and crew were compounded by the tragic death of Chadwick Boseman in 2020. The passing of the man who brought so much to a role which meant so much to millions of fans across the world, it begged the question as to how on earth could director Ryan Coogler and his crew overcome such a heart-breaking loss? It is therefore to their immense credit they have overcome the most devastating of obstacles to produce a film which not only beautifully honours Boseman’s legacy but delivers a worthy sequel to one of the best films in the MCU.

The nation of Wakanda finds itself in mourning following after their beloved King T’Challa dies from a mysterious illness. One year later, after a funeral and a beautiful celebration of his life, his sister Shuri (Wright) is struggling to come to terms with her loss and chooses to keep herself occupied with the Wakandan technology she pioneered. However, Wakanda finds itself under increasing scrutiny from the rest of the world which wants to see the country share its resources, most notably vibranium, putting pressure on Ramonda (Bassett) who has become Queen following T’Challa’s passing. However, the Wakandans face a further challenge when they encounter the ruthless Namor (Huerta), the leader of the underwater nation of Talokan, who is determined to wage war on all of the countries on the surface.

The task facing Coogler and his fellow screenwriter Joe Robert Cole to honour the legacy of Boseman in this sequel was an unenviable one, to say the least. Death is something we as human beings will all have to grapple with at some point in our lives. The grief and personal pain we experience when someone we love departs this world varies from person to person, and the screenplay offers a profoundly moving story which analyses how the grief and pain we endure manifests itself in individuals, whilst simultaneously illustrating the power of communities coming together to pay their respects to those who have passed on. It enables the performances of the characters, especially those of Letitia Wright and Angela Bassett, to flourish as their grief over the loss of their brother and son is raw, powerful and extremely emotional. We, as the audience, are grieving for them, and with them. As a result, their stories understandably take centre stage, but it does mean returning characters such as Nakia (Nyong’o), Okoye (Guiria) and M’Baku (Duke) feel somewhat underutilised.

Aside from the deeply personal tragedies facing its characters, in the same vein as its predecessor, Wakanda Forever also brilliantly factors geopolitical issues into its story. The first film grappled with Wakanda’s decision to hide itself and its resources away from the rest of the world. However, without their ruler and protector, the Wakandans are much more vulnerable, and this is something the rest of the world is keen to exploit. Consequently, this only causes Wakanda to find itself increasingly more isolated, which is where Namor, the leader of the underwater nation of Talokan comes in. In the same vein as Killmonger, Namor is a compelling villain, with a fascinating backstory. He too leads a nation which is isolated from the rest of the world, but one which is also steeped with resources and considerable military strength, which makes for a fascinating dynamic between Namor and the Wakandans, and Huerta’s performance is extremely captivating.

Returning costume designer Ruth Carter and production designer Hannah Beachler once again do a magnificent job of bringing Wakanda and Talokan to life, and while the first film’s cinematographer Rachel Morrison does not return for the sequel, Loki cinematographer Autumn Durald Arkapaw steps up to the plate magnificently. The film can feel a little long in places and certain aspects of the film could arguably have been left on the cutting room floor. However, after the last few MCU films have been grappling with the concept of the multiverse and lots of big CGI battles, it is a refreshing change of pace to see Wakanda Forever dial this back to allow the characters and their journeys to take centre stage. This isn’t to say that there is no CGI battle, because it would not be an MCU film without one, and Coogler’s direction remains marvellous and the visual effects have considerably improved this time around.

It is next to impossible to imagine how tough it must have been for the cast and crew every day during production. However, in the face of such devastating tragedy, they have ensured Phase 4 of the MCU closes with one of its best films and serves as a fitting dedication to the legacy of Chadwick Boseman, who through his immense body of work, will live on in the hearts and minds of millions of fans forever.

Through unimaginably difficult circumstances, Wakanda Forever is a moving sequel, delivering a poignant reflection on grief and tragedy while serving as a beautiful and emotional tribute to the wonderful legacy of Chadwick Boseman.

2020-2029, Film Review, London Film Festival 2022

Glass Onion: A Knives Out Mystery (2022)

Posted on November 21, 2022November 22, 2022 by Martin: Through the Silver Screen

Glass Onion: A Knives Out Mystery – Film Review

Cast: Daniel Craig, Edward Norton, Janelle Monáe, Kathryn Hahn, Leslie Odom Jr., Jessica Henwick, Madelyn Cline, Kate Hudson, Dave Bautista

Director: Rian Johnson

Synopsis: A group of friends are invited to a private island to take part in some murder mystery games, among the guest list is renowned detective Benoit Blanc…

Review: With its all-star cast and stark social commentary, Rian Johnson’s 2019 murder mystery Knives Out was the beginning of a renaissance for the murder mystery genre. Alongside a well-deserved Oscar nomination for Johnson’s screenplay, it ensured Daniel Craig’s Benoit Blanc, with his “Kentucky-fried Foghorn Leghorn drawl”(as one character so memorably put it), ensured Monseur Blanc was another addition to the memorable detectives have graced our screens over the years. So it came as no surprise when Netflix sanctioned a $469m deal for the rights to two future sequels featuring everyone’s favourite Southern sleuth. Having set such high standards, does this sequel prove Johnson can match those with yet another all-star cast? The answer, is an emphatic, yes.

Set on a remote Greek island, a tech billionaire (Norton) has invited a group of people closest to him for a weekend of murder mystery-themed shenanigans. They include a fashion designer (Hudson), her assistant (Henwick), a politician (Hahn), a scientist (Odom Jr), a YouTuber/vlogger (Bautista) and his girlfriend (Cline), and a businesswoman (Monae). Yet, also along for the ride is, mysteriously, Monsieur Blanc, whose detective skills may well be called upon once more once the murder-mystery festivities have got underway.

Given the film’s trailers gave very little away, it would be remiss not to extend the same courtesy, so the name of the game will be to be as cryptic as possible from here on out. As with this film’s predecessor, the less you know going into the sequel the better, the better. Benoit Blanc’s first mystery was far more than just your average run-of-the-mill whodunnit. It had a lot to say about privilege, class and politics while weaving a wonderfully clever murder mystery narrative into the story. So, it is immensely satisfying to see Johnson has lost none of his sharpness as he once again crafts a brilliantly witty and equally sharp screenplay keeps the audience very much on their toes. It maintains the wonderful humour of its predecessor (though sadly there are no hilarious monologues about doughnuts) whilst also retaining some very topical social commentary that makes this franchise stand out from the crowd amidst the resurgence in popularity of the murder mystery.

It seems a near impossible feat to have a more star-studded cast this time around when you look at the jam-packed A-list cast Johnson assembled for the first mystery, yet Glass Onion sure gives its predecessor a run for its money. Of course, the one constant throughout both these movies is Daniel Craig’s Benoit Blanc, and he is once again, a sheer joy to watch. Given for years, he embodied the sometimes cold and detached persona of James Bond, to see Craig throw himself back into Blanc’s shoes is wonderfully refreshing, and he is clearly once again having a blast working with Johnson’s writing. The same is also applicable to each and every member of the rest of the cast. It would be rude to go into specifics as to who shines the brightest, as this runs the risk of giving away the marvellous mystery Johnson has crafted. However, each and every one of them gets their moment to shine as the layers of this new murder mystery and what connects this group of friends are peeled back with glorious results.

What this new mystery definitely has in its favour is its exotic location, trading a Boston mansion for a luxurious Greek private island, which is captured so beautifully through Steve Yedlin’s cinematography. Equally, Rick Henrichs’ production design, particularly when it comes to the titular glass onion, is flawless. While it might disappoint some that there are no iconic sweaters this time around, costume designer Jenny Eagan more than makes up for the lack of unique knitwear, giving numerous characters plenty of colourful outfits which will surely be as memorable as those aforementioned sweaters.

But, through all it all, everything comes back to the genius of Rian Johnson. It is so wonderful to see a director who feels thoroughly at home with this genre be given carte blanche to realise his vision for this franchise, especially when the results are this good. While we can be thankful there will be at least one more case to be solved. However, given the quality of the first two entries, there are likely going to be very few complaints if Johnson continues to use his little grey cells to craft more entries in this franchise for many more years to come.

It might have seemed an impossible task to match Benoit Blanc’s first case. Yet, with its equally impressive all-star cast and an impeccably sharp and hilarious script, the master of the modern murder mystery strikes again.

2020-2029, Film Review, London Film Festival 2022

She Said (2022)

Posted on November 14, 2022November 14, 2022 by Martin: Through the Silver Screen

**© Universal, Annapurna Pictures and Plan B**

She Said – Film Review

Cast: Zoe Kazan, Carey Mulligan, Patricia Clarkson, Jennifer Ehle, Angela Yeoh, Samantha Morton, Andre Braugher, Ashley Judd

Director: Maria Schrader

Synopsis: Telling the true story of the two reporters from The New York Times whose reporting uncovered the truth behind the sexual assault allegations that sparked a worldwide movement…

Review: 5th October 2017, a date that will go down as the day that not just the film industry, but the world changed forever. It is the date when the shocking truth behind the repeated abuse and sexual misconduct committed by numerous powerful men, most notably Harvey Weinstein, against countless women came to light in an exposé published by The New York Times. A story that sparked a global movement of women to come forward to report their own allegations against numerous high-powered individuals who used their positions of power to sexually assault women in multiple industries. However, what is not nearly as well known is the tireless and vital work done by the heroic journalists whose courageous and resolute reporting helped to spark the Me Too and Time’s Up campaigns, and ignite a much-needed conversation about sexual harassment and treatment of women the world over.

The film opens in 2016, with investigative reporters Jodi Kantor (Kazan) and Megan Twohey (Mulligan) reporting on the 2016 US Presidential election, the sexual assault allegations made against the then-Republican presidential candidate Donald Trump, and later when similar accusations against prominent Fox News TV host Bill O’Reilly came to light. Flash forward several months, and the two of them are assigned to investigate allegations of appalling misconduct perpetuated by Weinstein against several women that worked for one of his studios. The two soon uncover a shocking system that protects high-profile individuals committing these horrific abuses by bullying the women into silence, either through cash settlements or non-disclosure agreements and any attempts to publicise the story are derailed by Weinstein and his lawyers. Consequently, Kantor and Twohey become even more determined to speak to victims and attempt to persuade them to go on the record to tell their story to bring down someone whose rampant abusive behaviour had been left unchecked for decades.

Given that the rise of the Me Too and the Time’s Up Movements represent very recent history, it was of critical importance for the film to approach this story and subject matter with the utmost respect. It would have been so easy for the film to devolve into a puff piece where the reporters pat themselves on the back for a report that brought to an end the system abuse by a man who was regarded as one of the most powerful producers in Hollywood, but Rebecca Lenkiewicz’s screenplay (based on the book: She Said: Breaking the Sexual Harassment Story That Helped Ignite a Movement by Kantor and Twohey) is having none of it. In a similar manner to the Oscar-winning Spotlight, the film expertly walks the line between demonstrating the pain-staking work that went into the investigation, and the effect that such work has on the personal lives of these journalists, whilst paying tribute to these courageous victims who came forward to speak out and help bring down someone who wrought so much devastation on the lives of countless women.

Kazan and Mulligan are both exceptional as the journalists at the centre of this investigation. As their investigation progresses and they uncover more and more evidence through speaking to these witnesses, the emotional weight of the horror that these people experienced, begins to take a hefty toll, especially when it comes to their personal lives. However, they remain undeterred, because they know the importance of the work that they are carrying out and amid the threat hanging over them that Weinstein might bury the story before they have a chance to publish. The supporting performances of everyone most notably Samantha Morton, Angela Yeoh, Jennifer Ehle, and Ashley Judd, the latter of whom plays herself, help ground the film in reality and provide a significant amount of emotional heft as they recount the horrific nature of their experiences.

Nicholas Britell’s stripped-back score captures the gravity of the situation and when necessary shifts gear to the urgency of the reporters attempting to get their story into the public domain. The work of the Me Too campaign is an ongoing struggle, and much more work will need to be done. However, the brilliant work of Maria Schrader and her predominantly female crew represents another timely reminder of the importance of investigative journalism, and the hugely essential stories it can bring to a global audience, stories that may well have never seen the light of day had certain people got their way. But it is much more than that, it is also the essential fact that when it comes to telling these stories, it is imperative that the voices of women come to the fore when telling these stories. It is a testament to those who would not let themselves be intimidated, and who raised their voices when it mattered the most.

Emotionally riveting, with compelling performances across the board in a vitally important film that pays tribute to journalistic integrity and the extraordinary combined with the bravery of those who came forward to spark an incredibly important movement.

2020-2029, Film Review

See How They Run (2022)

Posted on November 2, 2022November 2, 2022 by Martin: Through the Silver Screen

© Searchlight Pictures, DJ Films and TSG Entertainment

See How They Run – Film Review

Cast: Sam Rockwell, Saoirse Ronan, Adrien Brody, Ruth Wilson, Reece Shearsmith, Harris Dickinson, Charlie Cooper, Pippa Bennett-Warner, Pearl Chanda, Sian Clifford, Jacob Fortune-Lloyd, David Oyelowo

Director: Tom George

Synopsis: Plans for a movie adaptation of a popular murder mystery play are thrown into chaos when a key member of the crew is murdered…

Review: There is arguably no one more associated with the concept of a whodunnit murder mystery than the legendary Agatha Christie. The creator of staples of the genre like Hercule Poirot or Miss Marple has spawned countless film and TV adaptations over many years. Given the resurging popularity of murder mysteries as of late, it would be so easy for the creative team behind this latest incarnation of the genre to be another in the long line of adaptations of Christie’s works. Still, a direct adaptation, this is not. It very much taps into Christie’s legacy and gives the audience a thrilling and brilliantly funny slice of murder mystery mayhem.

It is 1953, in the heart of London’s West End. The cast and crew of Agatha Christie’s popular play The Mousetrap throw a party to celebrate their 100th show. Present at the party is prominent American film director Leo Köpernick (Brody), who is attempting to convince the play’s producer John Woolf (Shearsmith) during the party to let him make a film adaptation of the play. However, later that evening Kopernick is found to have been murdered by a mysterious assailant. Charged with taking on the case are the jaded drunkard Detective Stoppard (Rockwell) and a very keen and eager new recruit Constable Stalker (Ronan) to investigate the circumstances surrounding Kopernick’s murder and apprehend the suspect.

The genre of the murder mystery/whodunnit has enjoyed a resurgence in recent years, so one might expect to see this one follow all of those tropes to the letter, because as one character goes at the beginning “It’s a whodunnit. You’ve seen one, you’ve seen them all.” However, what makes this feature film directorial debut from Tom George so delightfully entertaining is it manages to collectively follow these tropes, whilst also providing some witty meta-commentary about the genre as a whole. But crucially, it never once comes off as condescending or patronising, as Mark Chappell’s screenplay is sharply written, keeping things moving along at a brisk pace, leaving the audience constantly on its toes as to who could this mystery assailant possibly be.

Equally, what makes this film such a joyous blast to watch are its characters. In its two lead detectives, you have two characters who could not be more opposite to one another if they tried, very much the chalk and cheese of their profession. In Rockwell’s Stoppard is a detective who has grown to be very weary, almost disinterested in his profession, and would much rather be getting drunk. Meanwhile, Ronan (who gets to use her native Irish accent) is the complete polar opposite. She is extremely eager, armed with her notepad without fail ready to jot down any information that might help them solve the case. Her love of the arts, as well as her perfect comedic timing, ensures she steals the show, an impressive feat considering the array of talent that has been assembled amongst this super-talented cast.

Through Amanda McArthur’s immaculate production design, and the snappy editing from Gary Dollner and Peter Lambert, there is a vibe throughout the whole film that is very reminiscent of a Wes Anderson production. Yet simultaneously, due to George’s direction being so confident and assured, never once feels like a rip-off or a cheap imitation, as George very much puts his own stamp on the film. When you have directors like Tom George and Rian Johnson producing films that are able to follow the genre’s well-worn tropes, yet simultaneously provide some witty social commentary, it is no surprise that the genre is enjoying a peak in its popularity, Agatha Christie would be very proud.