2020-2029, Film Review

Moonfall (2022)

Posted on February 6, 2022February 6, 2022 by Martin: Through the Silver Screen

Moonfall – Film Review

Cast: Halle Berry, Patrick Wilson, John Bradley, Michael Pena, Charlie Plummer, Kelly Yu, Donald Sutherland

Director: Roland Emmerich

Synopsis: When the moon is mysteriously knocked from its orbit, it threatens to cause a global catastrophe that would endanger all life on Earth…

Review: There’s something that’s oddly fascinating about the concept of a disaster movie. It’s something we hope we never actually have to live through, but when done well, it can be oddly entertaining to watch entire cities get obliterated as nature takes its revenge on us. There’s perhaps no one more synonymous with this genre than Roland Emmerich. One look at his filmography and it’s clear that he’s a director with a penchant for global destruction. So, you’d have thought that combining the concept of Earth’s only natural satellite falling out of the sky and destroying our planet, with a director whose modus operandi is worldwide global destruction would surely be a match made in disaster movie heaven? Well, no, not really.

Several years ago, astronaut Brian Harper (Wilson) was working on a routine mission with fellow astronaut Jocinda Fowler (Berry). However, the mission ends in tragedy and consequently, Harper’s reputation as a renowned astronaut is destroyed. When conspiracy theorist KC Houseman (Bradley), uncovers evidence that the moon has been knocked from its orbit, he tries to warn NASA of the impending doom, but is immediately dismissed. However, as catastrophic events start occurring across the globe, Fowler is left with little choice but to recruit Harper and Houseman for a last gasp mission to save Planet Earth before the impending moon fall destroys the planet.

To give credit where credit is due, the concept of the Moon falling off course and colliding with the planet is an extremely eccentric idea. It would certainly have been interesting to have been a fly on the wall when the concept was first pitched. The originality of the premise offers the opportunity to provide some visually eye-catching sequences, which the film does deliver. However, this is about the extent to which the film offers something that’s truly unique as the scenes of global destruction, such as massive tidal waves obliterating everything in their path, are things that we’ve seen disaster movies do countless times before. Such an idiosyncratic concept provided Emmerich with an opportunity to give audiences something as iconic as seeing the White House get blown to smithereens by an alien ship, but it failed to seize that opportunity.

Given such an absurdly bonkers premise, it would seem counterintuitive of the script to try and use science and logic to try and explain why these mysterious events are occurring. However, for some inexplicable reason, this is exactly what the film attempts. Logic and science should have been flung out of the window immediately, as these attempts to explain these events just do not serve the story in any shape or form. For the simple reason that no matter which way you slice it, the plot does not make an iota of sense at all. What should be a fun adventure of seeing a team of astronauts attempt to prevent total global destruction, becomes an unintentional comedy. This becomes all the more apparent, especially when the bigger picture of the reason why the Moon is falling comes into view.

When a script is this ridiculous, it does not make a difference as to who you cast, because every single character here is as paper-thin as they come. Halle Berry and Patrick Wilson to their credit, do try their hardest, but to no avail. The character development, if you can really call it that, is non-existent. They’re also not helped by the fact that they’re given some of the cheesiest dialogue that you’re ever likely to hear. The primary focus should be the mission to investigate why the Moon is falling out of orbit and the ludicrously improbable mission to reverse it before it’s too late. However, the film also wastes an enormous amount of time focusing on bland and forgettable side characters that are nowhere near as interesting or compelling as the main crew. This should have been perfectly entertaining, leave-your-brain-at-home disaster movie entertainment. Which, in many ways, it is, but probably not in the way Emmerich intended it to be. Instead of laughing with it, you’re uproariously laughing at it.

In the hands of the master of disaster, this absurd concept should have been an absolute blast of lunar-themed destruction. However, it ultimately ends up being too ridiculous for its own good.

2020-2029, Film Review, London Film Festival 2021

Belfast (2021)

Posted on January 20, 2022January 30, 2022 by Martin: Through the Silver Screen

**© TKBC, Northern Ireland Screen, Focus Features and Universal Pictures**

Belfast – Film Review

Cast: Jude Hill, Caitríona Balfe, Jamie Dornan, Lewis McAskie, Judi Dench, Ciarán Hinds, Colin Morgan

Director: Kenneth Branagh

Synopsis: Telling the story of the lives of one family living in Belfast during the 1960s…

Review: Irrespective of where we’re born, there’s a universal truth to the saying: “Home is where the heart is.” No matter who you are or where you come from, there’s likely to be a particular place on this Earth that means a great deal to you. Perhaps it is the town where you were born, or perhaps it is the place where you made those first memories that will shape you and who you are for the rest of your life? That special ode to your hometown and the immeasurable impact it can have on your life during your formative years is the heart beating at the centre of this deeply personal film from Kenneth Branagh.

Buddy (Hill) is a young boy living in Belfast during the late 1960s. He’s surrounded by his loving family, which consists of Ma (Balfe), Pa (Dornan), his brother (McAskie), and his paternal grandparents (Dench and Hinds). Like any child, Buddy goes to school, works hard in class, and seeks to win the heart of a girl in school who he has a crush on. Outside of school, playing on the street with his friends, and going to the pictures with his family, all with the carefree innocence that any child would have. It should be the perfect family life, but it’s about to be turned upside down. The country is about to be engulfed in political tension and violence which, will bring much uncertainty to this tight-knit Northern Irish family.

Given that we see the entire film from Buddy’s perspective, there’s a lot riding on Hill’s shoulders. Fortunately, he carries the film beautifully, balancing the naivety of youth, with an acute awareness of the tricky situation that’s developing. Alongside a brilliant leading performance from Hill, the rest of the cast are faultless in their performances. As Buddy’s parents, Ma and Pa are faced with an increasingly difficult choice of what to do and how best to raise their children in the politically charged circumstances that they find themselves in. Pa’s job in England is the main source of income for the family, hence money is tight. It’s a dilemma that puts a strain on their relationship, which is only compounded by the fact that he’s away for so much of the time.

Plus with the ongoing political tension that Belfast is engulfed in, there’s a dilemma as to whether they should leave the city that means so much to both of them behind? Do they want to uproot their two children from the lives that they have built in the city? Special mentions must go to Catriona Balfe and Jamie Dornan, both of whom give career-best performances. They clearly both love one another and care deeply for their children. So, they want to do what is best for them. Furthermore, due to his father’s absence, Buddy’s mother has quite the job to raise both him and his brother, mostly by herself. As such, Ma has a tendency to be quite overprotective of both her sons, but especially Buddy. They’re not on screen together a lot, but when they are, Balfe and Dornan’s wonderful chemistry helps add so much depth and layers to their characters. It’s always the sign of a quality performance that you no longer see the actor, instead, you see the character that they are playing, and this is true across the entire cast.

For a film that’s set in a time where political tensions are on a knife-edge, where violence could erupt at any given moment, it seems unlikely that the story would allow for much humour. Yet, Branagh’s screenplay allows for plenty of humorous moments to shine through. A lot of the humour comes from the dynamic between Buddy and his grandparents. Both of them impart their wisdom and knowledge to Buddy as he negotiates this difficult period in his life. This is where Ciaran Hinds, in particular, really excels. As well as being the kind and gentle grandfatherly figure, be a little cheeky and share a humorous moment with Buddy.

Branagh’s screenplay expertly walks the line between the dark and tense nature of the political tension of the time, with the family dynamic. It would be easy for Branagh’s screenplay to get bogged down by the intense nature of the politics of the time. However, the film avoids this by keeping it focused on seeing the world, and the ongoing situation, from Buddy’s perspective. Branagh has crafted a story that anyone will be able to connect with. No matter where you are from, or no matter how far you go in this world we live in, you never forget your roots.

The most personal film that Branagh has ever made, and quite possibly his best. A beautiful celebration of childhood, the places and the people that make us who we are.

2020-2029, Film Review, London Film Festival 2021

The Power of the Dog (2021)

Posted on January 5, 2022 by Martin: Through the Silver Screen

The Power of the Dog – Film Review

Cast: Benedict Cumberbatch, Kirsten Dunst, Jesse Plemons, Kodi Smit-McPhee, Thomasin McKenzie, Genevieve Lemon, Keith Carradine, Frances Conroy

Director: Jane Campion

Synopsis: The relationship of two brothers in 1920s Montana is put to the test when one brother settles down and introduces his new wife, and her son, to the other brother…

Review: What does it to be a man? Even in modern times, the stereotype of the masculine man is someone who is expected to be hard, tough, and forbidden from displaying any sort of emotion that might deem them as being “weak” and “unmanly”. While someone on the outside may present themselves as tough and strong, inside they can easily be the polar opposite. They could potentially be hiding some pretty big insecurities. While we have broken down some of those absurd barriers of men being unallowed to express emotions, back in the 1920s, such an idea was unheard of. In her first film for 12 years, Jane Campion explores the concept of toxic masculinity from the perspective of two very different people.

The setting is Montana in 1925, and brothers Phil (Cumberbatch) and George Burbank (Plemons) are very successful ranch owners. Phil is the tough, masculine, and considerably more cruel brother. He regularly likes to throw around insults, especially towards George. George, by contrast, is in every sense, the polar opposite to Phil, who is considerably more friendly, gentle, and hospitable. When George meets Rose (Dunst), he becomes instantly smitten with her, and the two marry. When George brings Rose and her son Peter (Smit-McPhee) home to the Burbank ranch, it doesn’t sit well with Phil at all. Phil becomes determined to do all he can to make Rose’s and Peter’s lives a misery, which will only add further strain to the tense relationship that already exists between the two brothers.

When you picture the average Western, you may picture a scene that depicts cowboys standing outside a saloon with their guns drawn in some rural town in the Wild Wild West. While the setting is sort of the same (substitute the majestic hills of New Zealand for those of rural USA), Campion instead takes a considerably different approach to this story. Adapted from the 1967 novel of the same name by Thomas Savage, her screenplay takes a considerably slow-burn approach to the story, that’s bathed in the gorgeous cinematography from Ari Wegner. Campion is clearly not interested in those tense shootouts, and is instead more focused on who the characters are as human beings. This is a personal, emotionally character-driven piece that thrives by taking its time to thoroughly examine the internal conflicts that are brewing inside these characters, and how these can spill over into their relationships with the other characters.

As the man at the centre of this story, Benedict Cumberbatch gives a terrific performance as Phil Burbank. Due to his tendency to willfully bully and insult others around him, he is definitely not the easiest character to spend some time with. He takes great satisfaction and joy in the mistreatment of others. Yet, as the film progresses, that brash and cruel exterior is peeled away, as not everything is what appears to be with Phil, and Cumberbatch’s nuanced performance captures this superbly. There’s an internal struggle within himself, and with some of the other characters that keep you invested as the film goes on, especially between Phil and Peter. Initially, one of the targets of Phil’s cruel insults due to his lisp and some of his mannerisms, it becomes fascinating to see how the relationships change once certainly layers are peeled back. Like Phil, there’s more to Peter than what you see at first glance, and Smit-McPhee’s performance is as equally nuanced as Cumberbatch’s.

As the dynamic between Phil and Peter is the one that is given the most screentime, it does mean that some of the others, most notably between Phil and George and Rose are not given enough screentime as they maybe could and should have. Plemons is severely underutilised once we reach the second half of the film. What’s more, for all of her strengths as an actress, Dunst also doesn’t have much to do except cower in fear whenever she comes face to face with Phil. This fear of her brother-in-law leads her down a dark path of addiction. While Dunst excels with the material she’s given, there was scope for a further exploration of the demons that she’s facing. Nevertheless, Campion’s slow-burn approach to this story and to the characters ensures that the mysteries that are at the centre of the film are extremely compelling to watch as they unravel. The Power of the Dog packs plenty of both bark and bite in equal measure.

A Western unlike any other. Campion’s long-awaited return to the director’s chair bides its time with its story, which makes the film’s atmospheric journey, and the mysteries contained within, all the more enthralling to watch.

2020-2029, Film Review

Spider-Man: No Way Home (2021)

Posted on December 30, 2021January 1, 2022 by Martin: Through the Silver Screen

**© Marvel Studios, Sony and Columbia Pictures**

Spider-Man: No Way Home – Film Review

Cast: Tom Holland, Zendaya, Benedict Cumberbatch, Jacob Batalon, Jon Favreau, Marisa Tomei, J. B. Smoove, Benedict Wong, Jamie Foxx, Alfred Molina, Willem Dafoe

Director: Jon Watts

Synopsis: After his identity is revealed to the world, Peter Parker asks for the help of Doctor Strange in a desperate attempt to make everyone forget he is Spider-Man…

This review will be 100% spoiler-free…

Review: Back in 2019, when Marvel Studios released Avengers: Endgame to the world, it was the crowning and unprecedented achievement of a decade-long cinematic adventure. Unlike anything that had ever been accomplished before in cinematic history it broke box office records, and – for a time – held the title of the highest-grossing film of all time. After the conclusion of that thrilling journey, Marvel would have been forgiven for spending five or so years to take stock of what they’ve achieved. The pandemic might have forced them to wait a bit, but this year Marvel have gone full steam ahead with the continuation of their Cinematic Universe. Phase 4 is beginning to take shape, and now, perhaps the biggest film of this phase thus far, and certainly the biggest since Endgame, has arrived.

Set immediately after the events of Spider-Man: Far From Home, Spider-Man’s identity has, thanks to Quentin Beck/Mysterio been revealed to the world. Consequently, Peter’s whole life has been turned upside down. With his identity now a known fact, it’s having an adverse impact on the lives of his family and friends as well. Desperate for help, he turns to Doctor Strange and asks him to cast a spell that makes the world forget his secret identity. However, when Peter attempts to tamper with the spell, it goes horribly wrong and unleashes the Multiverse, as hinted at in Disney+’s Loki. The Multiverse is something that they know, as Strange puts it, “frighteningly little about.” The corrupted spell causes strange visitors and foes from different universes to arrive in our world, and it’s up to Peter to stop them and send them back to their own realities.

After two MCU Spider-Man films that very much dealt with the impact that Tony Stark/Iron Man had on Peter Parker and his early career as everyone’s friendly neighbourhood Spider-Man, this concluding chapter is a welcome departure from that. With Iron Man having passed on, it’s left Peter Parker with no choice but to grow up, stand on his own two feet and wrestle with the fallout from his identity being revealed. Though that’s all with the help of a certain magic Sorcerer, who thankfully is not predictably stepping up to the mentor void left by Iron Man. Tom Holland has proven himself to be a fan favourite in this role with his numerous appearances across the MCU, but it’s here which he gives his absolute best performance. Being the hero that he is, there’s a lot resting on his shoulders, to save the world and to also protect those he cares about from being harmed by his mistakes.

Having seen a previous, and beautifully animated, Spider-Man film brilliantly using the concept of a Multiverse; screenwriters Chris McKenna and Erik Sommers had the unenviable task of adapting the Multiverse into this iteration of the character. They also had to make this third MCU Spider-Man film live up to the lofty expectations that fans had hoisted upon the film from its announcement. Depending on what you have seen in the build-up to the film, it may or may not live up to those expectations. The first act is a little rough to start off with, but once we get to the tampered spell, and the opening up of the multiverse the film finds its feet. Previous Spidey films have often been left to rue their mistakes when one too many villains get dragged into the picture, and the plot as a result gets severely messy. Thankfully, lightning doesn’t strike twice – or perhaps thrice – here as director Jon Watts is able to weave all these threads into a satisfying narrative that never feels as bloated as a Russian rhinoceros.

It would be easy to see this film as nothing more than just an enormous helping of fan service. While it is most certainly true in that regard, it does definitely have its moments that will undoubtedly please long-time fans of this character. However, it doesn’t negate what matters most to the character of Peter Parker, and the core values that the revered hero stands for. The character is one that has been a favourite for generations of comic book fans and thanks to our friendly neighbourhood Spider-Man, Phase 4 of the MCU has now opened the multiverse good and proper, and the possibilities that brings are plentiful and very very fantastic.

Juggling a lot of different plot webs has proven to be a stumbling block before, but with a career-best performance from Holland and an excellent cast of supporting characters, this Spider-Man threequel triumphantly swings its way to success.

2020-2029, Film Review

Encanto (2021)

Posted on December 24, 2021January 1, 2022 by Martin: Through the Silver Screen

Encanto – Film Review

Cast: Stephanie Beatriz, John Leguizamo, María Cecilia Botero, Diane Guerrero, Jessica Darrow, Angie Cepeda, Wilmer Valderrama

Directors: Byron Howard and Jared Bush

Synopsis: In an enchanted house in the hills of Colombia, live the Madrigal family, all of whom have magical gifts that help them give back to the community.

Review: Back in 1937, a certain company called Walt Disney Productions unveiled Snow White and the Seven Dwarfs to the world. It was a truly historic and monumental achievement and one that would change the course of animation filmmaking forever. Though when celebrating their extraordinary accomplishment, probably not even Walt himself could have quite imagined the legacy that the film would leave. Indeed, over eighty years after that historic first film was released, the studio that bears his name would still be at the top of their game in terms of releasing top-quality animated films. Not only that, but they would be celebrating the release of their 60th animated feature film and a very magical one at that.

Set in the hills of Colombia, the Madrigal family live in an enchanted house that they call the Casita. Through incredible magic, each descendant of the family is granted an extraordinary gift. The Madrigal family, via their magical gifts, give back to the vibrant community that has built up over the years since the Casita was built. Though there’s one member of the family who doesn’t have a gift of any kind, and that is Mirabel (Beatriz). Due to her lack of a magical gift, Mirabel is convinced that she’s not as special as the rest of her family. However, when an incident threatens to erase the magic of the Casita, the task falls to Mirabel to establish what’s going on and to save the magic before it is too late.

With any animated film that is produced by the House of Mouse, it is a formality that the film’s animation is going to be flawless. After the previous 59 films, one would suspect that they have seen the best animation that the studio has to offer. Yet, with each new film that has its stamp, they continue to surprise and delight in equal measure. In the same way that Raya and the Last Dragon represented a landmark moment for representation for Southeastern Asian communities, Encanto does that, and more for the country of Colombia. The Colombian community is vibrant and colourful, and it’s clear that the filmmakers have gone to great lengths to honour this culture on screen. Furthermore, the magic that brings the Casita to life, and the breath-taking magical gifts of the Madrigal family are vibrant and leap off the screen.

Each member of the family has their own unique gift, whether it’s Luisa with her extraordinary strength, Isabela with her ability to make flowers appear at will, or Antonio’s ability to talk to animals. It would therefore be easy for the protagonist Mirabel to be, as she is the only family member sans magical powers, to be unmemorable. However, this couldn’t be further from the truth. While she might be perceived as weird and different by the rest of her family, what Mirabel lacks in magical ability, she makes up for in her courageousness and bravery. She’s determined to be the one to save the magic of the Encanto and to save her family, and Stephanie Beatriz’s voice performance imbues her with the personality of a role model that anyone, especially those who hail from Latin America, can aspire to be.

2021 has already been quite the year for Lin-Manuel Miranda. First, there was the big-screen adaptation of his hit musical In the Heights, next came his directorial debut. Finally, to round out his phenomenal year, he reunites with Disney for another match made in heaven collaboration. Having worked to great effect with the Mouse House with the music and lyrics for Moana, Miranda is once again back on songwriting duty for this unique celebration of Colombian culture. The songs have the unique Lin-Manuel Miranda signature to them, hence making them all extremely catchy and enjoyable to listen to.

However, given the plethora of soaring and memorable ballads that have been heard in previous films, akin to Miranda’s “How Far I’ll Go” from Moana or a “Let it Go” from Frozen, there’s nothing that soars to quite the extent that those aforementioned songs do. The film’s narrative is definitely one you’ll have seen from previous Disney films, but the sheer quality of the craft of the animators, and the loving depiction of Colombian culture, ensures that Disney hits this creative landmark in beautiful style.

Filled with dazzling and vibrant animation, the narrative beats may be somewhat familiar, but even after 60 films down, the House of Mouse still has that magical touch.

2020-2029, Film Review

House of Gucci (2021)

Posted on December 11, 2021November 15, 2025 by Martin: Through the Silver Screen

**© MGM, Bron Creative and Scott Free Productions**

House of Gucci – Film Review

Cast: Lady Gaga, Adam Driver, Jared Leto, Al Pacino, Jeremy Irons, Salma Hayek

Director: Ridley Scott

Synopsis: Telling the true story of the family behind the iconic fashion brand, and their bitter power struggle as to who will have control over the company…

Review: When it comes to the world of fashion, several names immediately leap to mind that everyone will know as the most iconic. Names such as Louis Vuitton, Prada, Chanel, Versace, and Fendi, to name but a few. When it comes to these fashion houses, there’s likely a fascinating backstory about how they came to be the iconic labels they are today. This is certainly applicable to the brand Gucci, which, as of 2021, is estimated to be worth around $15 billion. With his second film of the year, Ridley Scott tackles that fascinating backstory of the Gucci brand, and the family behind the business, with decidedly mixed results.

Patrizia Reggiani (Gaga), who works for her father’s business, meets Maurizio (Driver) at a party. As they strike up a conversation and get to know each other, their romance blossoms. However, it isn’t until Patrizia learns about Maurizio’s status as the heir to one of the biggest names in fashion that changes everything. Maurizio and Patrizia marry, but Maurizio’s father Rodolfo (Irons) doesn’t take kindly to Patrizia, as he deduces that Patrizia doesn’t love Maurizio for who he is as a person, but is solely after Maurizio’s money. But Maurizio’s uncle Aldo (Pacino) welcomes Patrizia into the family and takes them under his wing. As Patrizia’s influence grows, a bitter power struggle ensues as to who will ultimately take control of the brand, which will have dire consequences.

Adapted from the book The House of Gucci: A Sensational Story of Murder, Madness, Glamour and Greed, by Sara Gay Forden, the title gives you an accurate indication of the shenanigans that are about to go down. A film that depicts all of the above, in the hands of a director with the calibre and experience of Ridley Scott had so much potential. Factor in an extremely talented cast, filled with Oscar nominees and winners, and yet the film falls well short of living up to its potential. As Patrizia and Maurizio meet and fall in love, it starts off fairly strongly, as the chemistry between Lady Gaga and Driver sizzles. Following on from her breakout performance in A Star Is Born, this role gives Gaga a chance to really flex her acting chops. To her credit, she easily gives the best performance in the whole film, which is no mean feat given the calibre of the actors around her.

As she marries Maurizio, she begins to exert her influence over the Gucci brand, whilst making moves to consolidate her power and influence on the Gucci brand. The film could (and perhaps should given the director) have soared from here, but instead, it is where the film really loses its way and never recovers. With all the scheming and backstabbing that goes on as individuals duel for controlling stake in the Gucci brand, like a Game of Thrones-style thriller, but instead of swords, dragons, and a battle for a throne, you have a battle for who will gain control over billions of dollars and dominion of high-end fashion. These moments have the odd spark that provides some entertainment, but they are not nearly enough to sustain the film’s two-and-a-half-hour runtime.

The screenplay from Becky Johnston and Roberto Bentivegna seems to be two films that have been mixed into one. It flirts between wanting to be that serious crime drama and a much less serious film, with the camp factor dialled up to the maximum. This is an opportune moment to mention the enigma that is Jared Leto. Unrecognisable under a substantial amount of make-up as Paolo Gucci, his performance is mystifying, to say the least. With an accent that is so over-the-top and exaggerated, you’d be forgiven for thinking he was auditioning for a role in a new Mario video game. These moments of campy soap opera-like drama, and all of their over-the-topness, are so out of place here, they undercut the very serious crime drama that the film could and probably should have focused on. While Leto is by far and away, the worst offender with the accents, the rest of the cast are not much better. The poor accents are also not helpful when trying to convey the serious nature of the crime drama that that aspect of the film is trying to tell.

The nature of this story is such ripe material for a compelling piece of storytelling. Even though parts of the film dragged on, given the timescale of the story, a mini-series could have been the better avenue to bring this story to audiences. Ridley Scott’s status as a legend of Hollywood is assured, but having said that even with a director of Scott’s experience, the complete mismatch of tones is a baffling style choice and one that ultimately sinks the film. Consistency when it comes to his directorial output has been a recurring problem for Scott. In a year when the veteran director has provided audiences with an extremely compelling and timely drama, it is disappointing that he couldn’t have made it two for two.

With no expense spared for the production design or costumes, Lady Gaga gives it everything she has as Patrizia Reggiani. However, the tonal mismatch of the story and some of the acting proves to be the film’s undoing. Style over substance, quite literally.

2020-2029, Film Review

Eternals (2021)

Posted on December 4, 2021December 10, 2021 by Martin: Through the Silver Screen

Eternals – Film Review

Cast: Gemma Chan, Richard Madden, Kumail Nanjiani, Lia McHugh, Brian Tyree Henry, Lauren Ridloff, Barry Keoghan, Don Lee, Harish Patel, Kit Harington, Salma Hayek, Angelina Jolie

Director: Chloé Zhao

Synopsis: A group of immortal beings, known as the Eternals, are sent to planet Earth to protect humanity from an evil race of aliens known as the Deviants…

Review: When you have created an all-encompassing cinematic universe that has spanned over a decade and 25 films, making cinematic history along the way. There does come a point for Marvel Studios, where they will need to think about, where do they go from here? When you’ve created a universe that has conquered all before it, how do you reinvent the wheel and keep things fresh and interesting for audiences to maintain interest in the universe going forward? Well, the answer seems to be, hire the most recent Academy Award winner for Best Director, and introduce a brand new crop of characters.

7000 years ago, a group of all-powerful beings known as the Celestials, created a powerful race of beings called the Eternals and sent them to Earth to protect humanity from their Celestial’s evil counterparts, known as the Deviants. For millennia, the Eternals have been watching from the sidelines, protecting humanity from any Deviant attacks. As they watch from the sidelines, some begin to develop a fondness for humanity. Yet, they have been under strict instructions to not interfere in any human conflict, unless the Deviants are involved. This all changes when an event known as The Emergence threatens to bring about unprecedented destruction, the Eternals must unite to prevent humanity’s destruction.

From the opening crawl, akin to something out of Star Wars, this film is in every sense, a brand new chapter for the Marvel Cinematic Universe. What they accomplished with the first three Phases of their Universe is undeniably incredible and nothing can take that away from them. However, that era of Marvel has come to a close, and with this film, this feels like they are in many senses, starting fresh. All franchises that go on for any length of time will inevitably develop a formula. While that formula has served the MCU so successfully over the years, there was a need to step away from it. To its credit, Eternals tries extremely hard to deviate from that, with varying degrees of success.

Fresh from her Oscar triumphs With Nomadland, a film that shined a light on a group of people who are cut adrift from society, whilst touching on themes of finding a belonging. Chloé Zhao’s Oscar winner touched on themes of individuals who have found themselves cut adrift from society, roaming from place to place, without somewhere to call home. This is a theme that feels very much relevant to the Eternals. They watch humanity from afar, intervening only when they must. The first two acts of the film where the Eternals are battling with this dilemma of interfering or not when it comes to human conflicts is compelling because, like most things in our lives, there is a difference of opinion amongst these incredibly powerful beings.

What Eternals brings to the table is an extremely rich and diverse cast, filled with extremely talented actors. The most memorable of these are Gemma Chan’s Sersi and Angelina Jolie’s Thena. Sersi is very much the leader of the Eternals and Chan’s performance is easily the most memorable. For Thena, there’s a fascinating internal struggle that she’s battling with, and it makes for an intriguing relationship between her and the rest of the Eternals as she battles to control that. On top of which, the film doesn’t shy away from diversity. There’s a landmark moment for LGBT representation, the very first ever sex scene, and the MCU’s very first superhero with a disability in Lauren Ridloff’s Makkari as both the actor and the character are deaf.

Unfortunately, because there are so many new characters that are appearing on screen together for the first time, developing all of them is a near enough impossible task to fit into a two-and-a-half-hour film, even for a director as talented as Zhao is. Some characters have barely any depth or personality. As such, it gives the audience little reason to care about them, as there is no emotional connection that has been built up over many years of different MCU films. Plus, as different as the film tries to be from all the previous MCU films that came before it, some familiar MCU tropes are present. Credit where credit is due for the screenplay’s ambition and scope. However, you cannot help but wonder if, had these characters been introduced via a TV show, it might have been better suited to give all these brand new characters sufficient time to make an impact.

Chloe Zhao works magic by bringing the humanity to these incredibly powerful beings. However, while it is to be commended, the ambition of introducing so many new characters in one go prevents the film from truly soaring.

2020-2029, Film Review, London Film Festival 2021

King Richard (2021)

Posted on November 18, 2021March 21, 2024 by Martin: Through the Silver Screen

**© Warner Bros. Pictures, Westbrook Studios, Star Thrower Entertainment and Keepin’ It Reel**

King Richard – Film Review

Cast: Will Smith, Aunjanue Ellis, Saniyya Sidney, Demi Singleton, Tony Goldwyn, Jon Bernthal

Director: Reinaldo Marcus Green

Synopsis: Telling the true story of Richard Williams, who played an influential role in shaping the early tennis careers of his daughters Venus and Serena Williams…

Review: Whenever anyone talks about the greatest athletes of all time, there are two names whose places in that conversation are absolutely assured: Venus and Serena Williams. Here are two extraordinary women, with an incredible 30 Grand Slam wins between them, whose achievements across their glittering careers will have undoubtedly inspired countless generations of young girls to pick up tennis rackets and to follow in their footsteps. However, there is someone, whom the Williams sisters have said that none of their success could have been possible without. That person, is their father, Richard Dove Williams Jr.

As the proud parents of Venus (Sidney) and Serena (Singleton), Richard (Smith) and his wife Brandy (Ellis) are committed to helping their daughters to one day become professional tennis players. With the strong emotional support of Brandi propelling Richard, Venus, and Serena in equal measure, Richard serves as their coach. Both Richard and Brandy work incredibly hard at their day jobs. Additionally, through many hours of training on the tennis court, he’s motivated by his ambition to help his daughters become professional tennis players. He’s a deeply driven and determined man, with a detailed and well-thought-out plan to ensure his daughters become two of the best tennis players to have ever played the game.

Given this is a story about two of the best players to have ever played the sport of tennis, it might seem odd to frame this story mainly from the perspective of their father. Yet, when you watch Will Smith’s performance as this father who will stop at nothing to help his daughters achieve their dreams, it pays incredible dividends as this is Smith’s best performance for quite some time. He’s a man who is fiercely protective of his family and is not afraid to stand up to anyone rude towards his daughters. Though while that may paint him as a kind and generous soul, this is not always the case. Richard has some very stubborn tendencies, and he will not be afraid to speak his mind during meetings. His stubbornness and unwillingness to change his methods and approach to how he conducts business threaten to ruin Venus’s and Serena’s careers before they have even begun.

While Smith’s performance is fully deserving of the plaudits, what must not be lost in the conversation is the performances of the women who are just as much at the centre of this story as Richard. The most important of which is Aunjanue Ellis as Oracene “Brandy” Williams. While Richard is out there on the court, the part she plays to help Venus and Serena carries just as much importance. She lends the support that both her husband and her daughters need as they strive to make their dreams become reality. However, she is absolutely not afraid to speak her mind when the situation calls for it and will take action into her own hands when she needs to. As the young Venus and Serena, Saniyya Sidney and Demi Singleton both have very bright futures ahead of them. There’s a genuine sisterly bond between them. They recognise that, in a society where being who they are comes with hardship and obstacles from the off, success for one of them will go a long way towards propelling both of them onwards in their careers.

What could have been a very generic story about how the Williams sisters became the superstars that they are, is instead played as an emotional family drama and a tribute to the parents who helped shape them into becoming two of the greatest tennis stars have ever played the game. Green gives plenty of time for the family dynamic to flourish, as it is integral to help shape the story. This is expertly combined with immaculately directed tennis matches as we watch the Williams sisters begin on their path towards tennis superstardom. It serves as a reminder that for every superstar athlete, there are parents who sacrifice so much. They work tirelessly to help mould and shape their children so that one day, they can change the world and write their names into the history books forevermore. This is precisely what Venus and Serena Williams have done. They will be remembered, not only as players who changed the face of the sport of tennis forever but also as two of the best athletes to have ever lived.

What could have been your typical sports biopic is anything but. With an ace of a central performance from Will Smith, King Richard is an inspirational and uplifting family drama that will have you punching the air in delight.

2020-2029, Film Review, London Film Festival 2021

The Harder They Fall (2021)

Posted on November 2, 2021November 2, 2021 by Martin: Through the Silver Screen

The Harder They Fall – Film Review

Cast: Jonathan Majors, Idris Elba, Zazie Beetz, Regina King, Delroy Lindo, Lakeith Stanfield, RJ Cyler, Danielle Deadwyler, Edi Gathegi, Deon Cole

Director: Jeymes Samuel

Synopsis: When he learns that his bitter enemy has been sprung out of prison, an outlaw re-forms his gang to take his adversary down once and for all…

Review: What is the first thing that comes to mind when someone says the word “Western”? A shot of a rural town in the USA, showdown duels with guns, cowboy hats/boots, and the familiar sounds of the spurs on the boots, or the doors of a saloon opening and closing. Perhaps there’s also a musical number akin to something that you’d hear from The Good, The Bad and the Ugly, is playing in the background, as a Caucasian hero strolls in on horseback to save the day? The Western is a genre that so often has white people at the forefront of the story. Yet too often, black people find themselves on the sidelines when it comes to these types of films. Hence, to see a Western that places the experiences of black people at this point in history at the forefront, with an all-star cast of some of the finest black actors currently working in Hollywood, is extremely refreshing, and long long overdue.

Nat Love (Majors) is an outlaw who has got a burning desire for revenge against Rufus Buck (Elba) after Buck committed an unforgivable crime when Nat was young. Now as an adult, when Nat learns that Buck has been freed from his incarceration as a prisoner, he’s out for revenge. He reforms The Nat Love gang, which includes real-life historical figure Stagecoach Mary (Beetz) and Cuffee (Deadwyler), to take down Buck once and for all. The only problem for Nat Love and his gang, is that Buck has his own gang surrounding him, including Treacherous Trudy Smith (King) and Cherokee Bill (Stanfield), determined to protect him at all costs. With the conflict between the two rival gangs boiling over into an all-out war, the bullets are gonna fly.

When taking one look at the cast that Samuel has assembled, there’s only one word that best describes it: stacked. No matter where you turn, there are actors with glittering careers everywhere you look. The end result is a brilliant cast, all of whom are in scintillating form. This crop of characters are certainly not ones you would want to cross, but that doesn’t mean that they are not extremely compelling and hilarious to watch. Jonathan Majors is someone who has burst onto the scene relatively late, in comparison to some of his cast members. Yet, in the few short years since he rose to prominence, he’s proven himself to be an extremely compelling on-screen presence. This continues with his performance as Nat. It’s quite the unenviable task to take a character like an outlaw, and add an incredible layer of depth and humanity to that role. Yet, with just about every performance he has given in recent years, Majors pulls it off brilliantly.

As Nat’s love interest, the relationship between Nat and Stagecoach Mary could have been very conventional. While the chemistry between the two is most assuredly there, Beetz plays this character as someone who is not subservient to Nat in any capacity, she’s more than capable of kicking Nat’s arse if she wanted to, and likewise for Cuffee. On the other side of this gang war, the character of Rufus Buck is someone who you dare not cross if you value your life, and Elba’s performance is suitably intimidating. Alongside him, Regina King is clearly relishing the opportunity to play an antagonist, and she’s absolutely terrific to watch. However, there’s far more to both their characters than just robbing banks and shooting down anyone in their way. As with Majors’ Nat Love, and indeed every character that you see on screen, there are subtle nuances to these characters that make them far more than just outlaws who are in this business for the money.

It is incredible to think that this is Samuel’s feature film directorial debut. While he has worked on music videos and short films with Jay-Z (who is one of the film’s producers), it’s quite the leap to go from directing short films and music videos, to directing a thrilling Western with some of Hollywood’s finest. Yet when you watch what Samuel, who also wrote the script, has concocted, it’s an absolutely breathtaking achievement. His direction is so confident and stylish, if you had no idea that this was his first feature film, you would be forgiven for thinking that he’s a seasoned director who has been doing this for years. It all translates into an enthralling and compelling story that grabs you from the word go.

Some may well struggle with the thick Texas accents that some of the characters speak with. However, by telling this story from the perspective of people who were not trapped in the brutal institution of slavery, it lends a much-needed new perspective to the people and the lives they led at this point in history. With such a confident and brilliant feature film debut, an exciting new voice has entered the world of filmmaking. No matter what project he chooses to do next, Jeymes Samuel will surely have captured the curiosity and the attention of audiences all over the world, and deservedly so.

The Western genre has been given a much-needed revitalisation. Impeccable performances from its all-star cast, combined with slick and stylish action, and the end result is a breath-taking feature film debut from Jeymes Samuel.

2020-2029, Film Review, London Film Festival 2021

Last Night in Soho (2021)

Posted on October 29, 2021October 29, 2021 by Martin: Through the Silver Screen

**© Universal Pictures, Film4 Productions, Perfect World Pictures and Working Title Films**

Last Night in Soho – Film Review

Cast: Thomasin McKenzie, Anya Taylor-Joy, Matt Smith, Terence Stamp, Michael Ajao, Dame Diana Rigg

Director: Edgar Wright

Synopsis: An aspiring fashion student moves to London with dreams of becoming a fashion designer. However, she soon finds herself somehow being connected to a different era of London’s Soho…

Review: It’s a dream that plenty of us have at some point in our lives. Leave the comforts of the homes that we were raised in, and experience the bright lights, the busy streets, and the atmosphere and vibes that life in the big city can offer. Yet, for all the tourist attractions and the appealing allure of the big city life, every city (especially one as vast as London) can be overwhelming for people at first. Additionally, each city has a dark side, and both the celebration and the sinister dark side of London form the basis of the new film from one of the most unique voices in British film-making: Edgar Wright.

Eloise (McKenzie) is a fashion student who is a big fan of the 1960s and the music of that era. She moves from her cosy South West roots to the big bright lights of London to attend the London College of Fashion. She has big ambitions to realise her dreams and become a household name amongst the world’s fashion designers. Shortly after arriving, Eloise discovers that when she is asleep, she can travel back to a point during the Swinging Sixties in London where she mysteriously finds herself intertwined with the life of Sandy (Taylor-Joy), who aspires to become a singer. Initially, everything appears to be fine and dandy in the brightly lit neon streets of 1960s London. However, not everything is what it seems, and there’s a darker side to this city that Eloise is about to discover.

Having established herself with her stunning but subdued performance in Jojo Rabbit, this is another demonstration of Thomasin McKenzie’s extraordinary talents. When you make the move from the pleasant countryside to the big city, it can be overwhelming, especially if you’re a student who’s experiencing the madness that is Fresher’s Week. McKenzie’s performance perfectly encapsulates that feeling in an extremely relatable manner as she initially struggles to adapt to this new life. As time goes on, she develops more confidence, as she sees part of herself in Sandy, which inspires her to be more outgoing in her social life and with her fashion designs. As the woman at the centre of Eloise’s fascination, Taylor-Joy’s performance as Sandy is suitably captivating. Additionally, this film marks the final on-screen performance of the late, great Diana Rigg’s illustrious career, and it’s a wonderful final performance.

In a note from the cast and crew of the film that was posted on Twitter, the urge to keep the mystery surrounding this film intact was heavily emphasised. Or, as they put it “What happens in Last Night in Soho, stays in Soho.” Hence, the mystery that has been crafted by Wright and co-writer Krysty Wilson-Cairns shall not be disclosed here. The film starts very strongly as we see Eloise blissfully experience her favourite time period through this vivid dream, but that blissful dream soon turns into a living nightmare when certain truths begin to emerge. As the mystery that’s at the centre of this film begins to unravel, the line between reality and fantasy begins to blur. This is down some extremely slick editing. Through this shift, the film descends into horror film territory, a genre that Wright is no stranger to, given that he expertly combined horror and comedy in Shaun of the Dead.

While there’s enough to make audiences jump out of their seat in terror, the scares can get a little wearisome and repetitive. Furthermore, the messages of the film feel a little muddled in parts, especially by the end of the third act. This is extremely frustrating because of the ambitious nature of the story. However, life in the big city can sometimes be overwhelming and too much for the senses. Wright’s love letter to this city, which clearly means so much to him, has much to be admired about it. There are a plethora of ideas thrown at the wall, but not all of them stick the landing. Hence, it does sometimes feel a bit unsure of what kind of film it wants to be and might have just bit off more than it can chew.