2020-2029, Film Review

Wicked (2024)

Posted on November 22, 2024November 18, 2025 by Martin: Through the Silver Screen

**© Universal Pictures and Marc Platt Productions**

Wicked – Film Review

Cast: Cynthia Erivo, Ariana Grande-Butera, Jonathan Bailey, Ethan Slater, Bowen Yang, Marissa Bode, Peter Dinklage, Michelle Yeoh, Jeff Goldblum

Director: Jon. M. Chu

Synopsis: A misunderstood young woman forges a friendship with a popular student at Shiz University in the land of Oz…

Review: There is a very good reason The Wizard of Oz is considered a timeless classic and an iconic work of cinema which has stood the test of time. More than three-quarters of a century since Dorothy and her friends travelled down that yellow brick road, its enduring themes of finding your courage and the power of friendship, combined with the memorable music (for which it won two Oscars) and the iconic red footwear adorned by its lead character, contribute to its legacy. It is no surprise that in the years since, there have been numerous expansions to the wonderful world of Oz in various forms, including the 1995 prequel novel “Wicked: The Life and Times of the Wicked Witch of the West,” which later inspired a musical. A musical that has been seen 65 million times in more than 100 cities in 16 countries. Popular, indeed, but the road from stage to screen can sometimes be tricky to negotiate. Fortunately, in the hands of Jon. M. Chu, the first part of this adaptation truly soars.

Adapting the first act of the musical, Galinda (Grande-Butera) arrives at Shiz University and soon becomes eager to impress the school’s Dean of Sorcery Madame Morrible (Yeoh). There she meets Elphaba (Erivo), the misunderstood daughter of the Governor of Munchkinland. Elphaba has possessed magical abilities from childhood, but is mocked and scorned by society due to her green skin. After the duo are forced to room-share while at university, they forge the most unlikely friendship. This leads them both to visit the Wizard of Oz in the Emerald City before their paths diverge forever into becoming The Good Witch and The Wicked Witch of the West respectively.

When you have had music and lyrics that have enchanted theatre audiences for more than 20 years, it shouldn’t come as a shock that the music composed for the stage by Stephen Schwartz has remained unchanged for the screen. Likewise, for the dialogue, however given this first half is confined solely to the musical’s first act, it allows Winnie Holzman and Dana Fox’s screenplay to devote considerably more time to exploring these characters and fully fleshing out their backstories, particularly Elphaba. Villains can so often be misunderstood souls who are driven to their wickedness by the cruelty and mockery inflicted upon them by others, and Elphaba is one such soul. Disliked by her father since birth, while being kept at arm’s length by her disabled sister Nessarose (Bode), means she is more withdrawn and reserved, but doesn’t allow herself to let the bullies wear her down.

Galinda, by contrast, is the complete opposite of Elphaba. The vainglorious queen of Shiz University, always with a couple of faithful minions in tow and looking to stand out from the crowd, with an excessively pink wardrobe that could give Barbie a serious run for her money. While she initially joins the rest of the students in mocking Elphaba, she eventually becomes sympathetic towards her and strives to improve her popularity among the rest of the university’s students. As well as possessing terrific singing voices, the film’s magic lies in the chemistry between Elphaba and Galinda, and Erivo and Grande deliver magical performances. The latter might not have the most extensive acting resume to her name, but she effortlessly brings Galinda’s vanity to the core, demanding to be the centre of attention at all times. Yet, there is an endearing quality to her that you can’t help but love, particularly in those tender moments between her and Elphaba.

Without a doubt, Erivo and Grande are the stars of the show, though they are wonderfully supported by a quirky cast of characters, including the effortlessly charming Prince Fiyero (Bailey), and the stern yet compassionate Madame Morrible. Yeoh, reuniting with her Crazy Rich Asians director, to wonderful effect. Additionally, no film set in the land of Oz would be complete without the Wizard himself, portrayed perfectly by Jeff Goldblum, who brings his signature quirkiness to the role. Chu is no stranger to musicals, having directed 2015’s Jem and the Holograms and 2021’s In the Heights. Despite the latter’s truly spectacular musical numbers, Chu really steps up to deliver some truly showstopping musical numbers that will have you singing the songs for days and weeks afterwards.

Adapting such a beloved piece of storytelling that has cast a spell and bewitched its way into the hearts and minds of legions of fans was always going to be a tough ask, as adaptations of musicals can often go very very wrong. Yet, Chu has brought to the screen a very timely story about being unafraid of who you’re meant to be, to stick to your guns and not be intimidated in the face of bullies. A magical experience in every sense of the word, and the good news is, this is only the first half. Grab your broomsticks and pointy hats, because we’ll be venturing down the yellow brick road back to Oz again this time next year.

Filled with truly magical musical numbers, enchanting costumes and sets, and spellbinding performances combine to deliver an enthralling cinematic experience for long-time fans of the Broadway play and newcomers alike. Expectations and gravity well and truly defied.

2020-2029, Film Review

Joker: Folie à Deux (2024)

Posted on October 6, 2024October 6, 2024 by Martin: Through the Silver Screen

**© Warner Bros Pictures and DC Studios**

Joker: Folie à Deux – Film Review

Cast: Joaquin Phoenix, Lady Gaga, Brendan Gleeson, Catherine Keener, Zazie Beetz, Steve Coogan, Leigh Gill

Director: Todd Phillips

Synopsis: Two years after the events of the first film, as he prepares to go on trial for murder, Arthur Fleck meets fellow Arkham inmate Harleen ‘Lee’ Quinzel…

Review: In what was an incredible year for film, there were fewer films released in 2019 which caused a frenzied debate as Todd Phillips’s Joker. The winner of the Golden Lion at the Venice Film Festival, and yet, the controversy which surrounded the film in the run-up to its release was thunderous and widespread, amid fears that it would spark violence and unrest. Despite its very apparent nods to the filmography of Martin Scorsese, the film rode out those fears, taking over a billion dollars at the box office and becoming the highest-grossing R-rated film of all time (a record it held until only very recently) and bagging two Academy Awards. Amid the very divisive reactions, ultimately this version of the Clown Prince of Crime had the last laugh. At least he would have done, had the filmmakers resisted the urge to return to this dreary interpretation of Gotham and make a markedly inferior sequel.

It has been two years since failed comedian Arthur Fleck (Phoenix) violently killed several people, including three Wall Street businessmen, a co-worker, and a prominent talk show host, the latter taking place live on national television, all while adopting the mantle of the Joker. Now imprisoned at Arkham State Hospital, Arthur is awaiting to stand trial for his crimes and at the mercy of Arkham’s guards, who take great joy in taunting him. He soon meets Harleen “Lee” Quinzel (Gaga), and the two begin a bad romance, (rah-ah-ah-ah!) with Lee telling Arthur that they will build a great life for themselves once he is free. Meanwhile, in preparation for his trial, Arthur’s legal counsel Maryanne Stewart (Keener) is aiming to convince him that he has dissociative identity disorder and that it was this Joker character that committed these murders, all this is interwoven with musical numbers which attempt to explore Arthur’s mindset, because apparently a song and dance is a better outlet than talking about it?

How do you solve a problem like Joker? This is presumably the question on the minds of Phillips and Scott Silver when they set about writing this follow-up. The short answer is you leave it the hell alone as not every film needs a sequel, but clearly money (especially $1bn) talks. While at least this does away with the very overt references to a superior filmmaker’s work, the decision to go down the musical route for such serious discussions about mental health and the state of Arthur’s mind is unquestionably bold. However, boldness counts for nothing if you don’t fully commit to this and go for broke and commit to batshit musical numbers. Even with a singer as talented as Gaga, the musical numbers are flat and unremarkable, and offer nothing substantive as a means of dissecting Arthur’s supposed identity crisis and both his and Lee’s mental state. Folie à Deux (or shared delusion/madness) is an apt subtitle as these are two souls whose delusion knows no bounds, but it’s a shame that the substance of the script is about as shallow as it could possibly get, and its exploration of mental health is superficial if we’re being kind, and bordering on lazy if we’re not, which we absolutely should not.

For all of the script’s many faults, with another being a courtroom drama that should be gripping and intense as Arthur is held accountable for his actions, even if that is half-baked and farcical in its execution. At least Joaquin Phoenix delivers another compelling performance, even though the material he’s been given is far beneath an actor of his immense capabilities. Gaga has proven she has the acting chops to go toe to toe with some of the biggest names in the business, and she does so again here. Her take on this iconic character is much more softly spoken and warmer than some of her immediate predecessors. However, she doesn’t get enough screen time to truly excel and leave a lasting impression. To underutilise her musical talents, in particular, is an especially egregious sin, among the many many sins committed through a two-hour and twenty-minute run time, with severe drags in the pacing.

What is considerably less sinful is the sterling work of returning cinematographer and composer Lawrence Sher and Hildur Guðnadóttir, the latter of whom won an Oscar for the first film. The scenes in Arkham are aptly dim and grey, to reflect such a miserable place. They stand as a perfect contrast to the vibrantly lit musical moments, while Guðnadóttir again deploys a haunting string-heavy to capture the gloominess of Arthur’s predicament when he’s not having a musical interlude, which ultimately feels like a waste of Guðnadóttir’s talents. Phoenix’s phenomenal performance helped to elevate the first film from its obvious influences to provide audiences with a portrayal of one of cinema’s iconic villains that for better or for worse, got people talking. However, this hollow sequel offers absolutely nothing substantial and has absolutely nothing to say. No one is laughing anymore, and it is time for this clown to exit the stage once and for all.

Even with the incredible talents of the production design and technical team, their efforts and excellent performances from Phoenix and Gaga, are all in service of dull musical numbers and a script devoid of anything meaningful to say.

2020-2029, Film Review

In the Heights (2021)

Posted on June 17, 2021June 17, 2021 by Martin: Through the Silver Screen

In The Heights – Film Review

Cast: Anthony Ramos, Corey Hawkins, Leslie Grace, Melissa Barrera, Olga Merediz, Daphne Rubin-Vega, Gregory Diaz IV, Jimmy Smits

Director: Jon M. Chu

Synopsis: In the Washington Heights area of New York City, the owner of a bodega aspires to one day relocate to the Dominican Republic to fulfil a childhood dream…

Review: Whenever someone mentions the name Lin-Manuel Miranda, many will undoubtedly immediately think of his work with the hugely popular musical Hamilton. Winner of an incredible 11 Tony Awards, thanks to a release of a recording of the show on Disney+ last year, it gave those who hadn’t had the chance to see it revel in its wonderful performances and irresistibly catchy tunes. Yet, Hamilton was not Miranda’s first foray into the world of musicals. Before he enjoyed phenomenal success with his adaptation of the life of one of the founding fathers of the United States, there was In the Heights, a musical penned by Miranda about the place where he grew up. Now, in the hands of director Jon M. Chu, comes an adaption that, it will not shock you to learn, is an absolutely euphoric blast of sun-soaked joy.

For any musical, the opening number is arguably the most important one of them all, as it has the task of setting the scene and getting the audience in the mood. Through this absolute bop of an opener, we meet our protagonist Usnavi (Ramos) the owner of a bodega in the Washington Heights area of New York City. Usnavi has fond memories of his childhood and the beach bar in the Dominican Republic that was once run by his father. With the bodega, and a handful of other businesses in the area at risk of going out of business, he becomes determined to raise enough money to leave New York behind and return to the Dominican Republic to reopen his family’s bar. But over the course of one summer in this vibrant Latino community in Washington Heights, as Usnavi meets with old friends and makes some new connections, there’s every chance that this will be a special, unforgettable summer.

The opening musical number introduces us to an array of the people and their livelihoods in this particular neighbourhood in the Big Apple. From Usnavi’s cousin Sonny (Diaz) who helps him run the bodega, Abuela Claudia (Merediz), the neighbourhood’s matriarch who played an integral role in raising Usnavi, Kevin the owner of a nearby business and his daughter Nina who’s returned to the area after a year in college, her relationship with Benny (Hawkins), to finally Vanessa (Barrera) an aspiring fashion designer, who Usnavi has developed a massive crush on. For each and every single person in this neighbourhood, they are all motivated by their own “sueñitos”(little dreams).

As the film’s central character, Usnavi is immediately a very charming and likeable presence. Following on from his role in Hamilton, this is Anthony Ramos’s shot at a leading role, and he does not throw it away. He’s constantly thinking about his sueñito, to run that beach bar that was such an integral part of his life growing up. Yet he’s reminded of just how special this area of New York, and the people who make it home are to him. Chief among these people is his crush Vanessa. For her, her sueñito is to become a fashion designer, and Barrera’s performance is equally impressive and emotionally heartfelt in a terrific cast. There is not a false note to be found anywhere in any of their performances.

As one comes to expect when Lin-Manuel Miranda pens the music, the soundtrack is packed to the brim with irresistibly catchy and joyful songs that will be filling your eardrums for weeks afterwards. As well as the irresistibly catchy music, what is equally impressive is the choreography that accompanies each and every musical number. Furthermore, each song and musical number has its own unique vibe, which comes from the variety of backdrops for each song, and the excellent use of lighting and camerawork that director Jon. M. Chu utilises. The screenplay by Quiara Alegría Hudes touches on a number of very topical themes like family, identity, aspirations, and what it means to be a part of a community. Given that the original musical was written in 2005, Hudes’s screenplay has made some important changes to the plot that makes it in tandem with modern day events, such as the aspirations of the Dreamers. This crucially lends an extra weight to the stories of the people that are being brought to life on screen, because they will undoubtedly reflect many of the hopes and dreams of the people in this community.

While each and every song here are certified jams, the film is just ever slightly let down by some pacing issues in and around the middle act of the film. However, if you’re going to pick a soundtrack to be the music to your summer, you’re unlikely to find a more vibrant, soulful and downright joyous than this one. It might have taken a while for this adaptation of this musical to lift our spirits and infect our eardrums with its joyful tunes. After the difficult time that has been had by all over the last year or so, this is the perfect blast of euphoric enjoyment that we all need and deserve, and it was certainly worth the wait.

Filled with a plethora of wonderful characters, and some certifiable bops jammed packed throughout, In The Heights is the positive, life-affirming blast of joy that the world needs right now.

2010-2019, Film Review

Cats (2019)

Posted on December 22, 2019March 25, 2025 by Martin: Through the Silver Screen

**Image is property of Universal, Working Title and Amblin Entertainment**

Cats – Film Review

Cast: Francesca Hayward, Judi Dench, Jason Derulo, Idris Elba, Jennifer Hudson, James Corden, Ian McKellen, Taylor Swift, Rebel Wilson

Director: Tom Hooper

Synopsis: A group of Cats known as the Jellicles come together to make a decision known as “the Jellicle choice,” a decision that will give one lucky cat an exciting new opportunity to start life anew….

Review: It was almost an event unto itself. Back in July this year, a trailer landed onto the internet, but this was no ordinary trailer, it was something much more horrifying, this being the trailer for Cats. Quickly becoming this overnight, much talked about sensation, but for all the wrong reasons. The collective claws of the internet came out and the film became the subject of much ridicule and being the butt (or should that be tail) of so many internet jokes, it seemed completely dead on arrival. It should come as no surprise to learn that it is a complete furry cat-astrophe.

The plot, if you can really call it that, is focused on a group of cats known as the Jellicle cats. An abandoned cat, Victoria (Hayward) is found by the group and they take her in. Every year, the leader of this group must make the Jellicle choice, a decision which will give one lucky cat the chance to start a new life. The big problem is this “plot” only comes into view about two thirds of the way through the film. For the first two thirds, a bunch of rather famous people take it in turns to sing a song. It almost feels screenwriter Lee Hall and writer/director Tom Hooper were playing with a proverbial ball of string before they realised they needed to have a plot, of some kind.

**You’ll never look at your cat the same way ever again…**

The only actor who can really take any sort of credit for their performance is that of newcomer Francesca Hayward, as she shows glimpses of her talent as a singer and a performer. Yet, in a cast filled to the brim with so much talent, you expect so much better considering the calibre of the likes of Judi Dench, Ian McKellen and Idris Elba. The most fundamental job for a musical is to have good music, and there are a couple of strong performances to be found. Jennifer Hudson’s rendition of “Memory” is impactful and “Beautiful Ghosts” written by Taylor Swift and Andrew Lloyd Webber certainly has some touching moments about it. The rest of the music is perfectly fine, but beyond those two songs, it is all just very generic and forgettable.

But what’s unfortunately not so forgettable, is the visuals, and more specifically the look of the actors in these bizarre concoctions of “cat-suits”. While certain elements such as the fur look at least somewhat plausible, overall they most assuredly don’t look completely look like cats, but nor are they human. It is the most peculiar hybrid that is guaranteed to invade your nightmares. The very fact that at times you can quite clearly see their human fingers, and other human like features is just comically inept and extremely distracting. Seemingly no effort whatsoever has been made to modify the appearances of the actors to make them even vaguely look feline. Their hands don’t look like paws, and their human noses are extremely noticeable. It’s just a gigantic mess.

Given that such high calibre films like The King’s Speech, and the 2012 version of Les Misérables on his CV, one would really expect better of Tom Hooper to try and make this musical adaptation translate to the big screen in a manner that is not inherently horrifying. Yet in spite of some visually splendid production design, this monstrosity proves that not everything translates to the big screen. This adaptation is one that should have stayed on the scratchpad of ideasn, eventually to be scratched into oblivion where it belongs. Someone should have paws-ed for thought before green-lighting this thing, but they didn’t, and this nightmare came to fruition, which isn’t good news for anyone.

Take away Francesca Hayward’s promising performance, along with a few good songs, and there’s really not that much to salvage from this monstrosity. A furry nightmare of hellish proportions.

2010-2019, Film Review

Rocketman (2019)

Posted on June 6, 2019June 7, 2019 by Martin: Through the Silver Screen

**Image is property of Paramount Pictures, New Republic Pictures, Marv Films, Rocket Pictures**

Rocketman – Film Review

Cast: Taron Egerton, Richard Madden, Jamie Bell, Bryce Dallas Howard, Stephen Graham

Director: Dexter Fletcher

Synopsis: A look at the life of musical icon Elton John from his first moments playing the piano as a youngster, to an international best selling superstar, and all the partying and drunken shenanigans that ensued…

Review: When two films about two icons of British music come out within a year of each other, comparisons between these two films are pretty much inevitable, especially since they share a director (kind of). However, while the first of these films ultimately chose to play things very safe with its source material about the life of its subject, Queen frontman Freddie Mercury. For Rocketman, and the life of its subject, Elton Hercules John, this is decidedly not the case.

The film covers quite the broad spectrum, but it mainly initially on Elton’s younger years, back when he was known as Reginald Kenneth Dwight. As a rather timid child being held back by his not-so-supporting parents. Until when given some helpful supporting nudges, he gets a spot at a prestigious music school and that leads him down the path of becoming a very eccentric entertainer. From there he meets lyricist Bernie Taupin (Bell) and together with Bernie providing the lyrics and Elton providing the vocals, they become an effective and cohesive team committed on the journey to super-stardom.

**Dress down Fridays definitely didn’t catch on…**

Every so often, there is a casting choice that just feels absolutely perfect, and for Taron Egerton as Elton John, this is one of those instances. In what may be his best performance of his career so far, Egerton goes all out with just about every aspect of the role. The bright and wacky costumes, the mannerisms of the great man himself and, yes he does all of his own singing. With just about every facet of this performance, he captures the drama that he has in his life with his romances and the hard and intense party lifestyle that he leads in his younger years, without sugar-coating any of it, not least the relationships he has, most notably with Richard Madden’s John Reid. The friendship between Elton and Bernie is very heartfelt, and Bell brings a level of sincerity to his performance, and Bryce Dallas Howard as Elton’s mum Sheila couldn’t have been more perfect.

Dexter Fletcher, who came into to complete Bohemian Rhapsody after the original director was fired, shows that he has got a real knack for these musical biopics. While he didn’t get the credit for BoRhap, this is completely his own movie, and with that he brings a great deal of visual flair to the film. There’s no jaw-dropping sequence like the Live Aid scene in BoRhap, but that doesn’t stop the musical numbers in Rocketman are entertaining and very unique in their own right. With the script from Lee Hall, Fletcher chooses to mesh the intense drama with some musical numbers that are interspersed throughout the film. Given that the life of someone in a business like this has its ups and downs, these can feel a little jarring at first, given how the film has moments in it which are really quite melancholic.

The film strives to avoid those familiar tropes of the musical biopic genre, but despite its best efforts, it does revert to some of these. Yet while Bohemian Rhapsody was a very safe, and (sometimes inaccurate) version of the man it was portraying, Rocketman is anything but by-the-numbers. There are some aspects of Elton’s life that are covered, but in such a fleeting manner that could have done with a bit more development. It’s above all else, a reminder that while such a career can be extremely rewarding, there are some dangerous pitfalls that can happen to anyone, no matter how rich, or famous, or popular they may be.

Visually striking and with a marvellous performance from Egerton, Rocketman blasts off but doesn’t quite stick the landing due to a tonally unevenly told story.

2010-2019, Film Review

La La Land (2016)

Posted on January 15, 2017 by Martin: Through the Silver Screen

La La Land – Film Review

Cast: Ryan Gosling, Emma Stone

Director: Damien Chazelle

Synopsis: An actress desperately trying to catch her big break in Hollywood meets a jazz pianist struggling to make ends meet, and the duo begin a blossoming romance.

Review: The art of cinema is one that can have great impact on the human soul whenever we sit down to watch a film for the first time. Cinema has the power to generate so many emotions among its audience, from the most euphoric moments of unrivalled joy to the dark moments of despair. Writer and director Damien Chazelle’s previous directorial outing Whiplash certainly had a mixture of those happy and sad moments, more of the latter than the former mind you. Yet for his new picture, again with a musical theme at its brimming heart, definitely has a lot more of those moments of pure unparalleled joy.

An insane but quite brilliant musical number set on an LA freeway sets you up for the kind of ride Chazelle is about to take you on, as we meet Emma Stone’s Mia, an actress who, despite audition after audition, is just not getting any rewards. By chance she runs into Ryan Gosling’s Seb an aspiring Jazz pianist who also happens to be in something of a rut, this is until he meets Mia, and the two fall head over heels for one another and begin planning a life for themselves together, with both having big aspirations and dreams. It all seems so perfect for them, until their careers threatens to pull them away from one another, and both are presented with a difficult decision. Though this is very much a musical at is heart, its packed with great humour, romance and drama all fused into one glorious picture. right from the aforementioned musical freeway scene, you’ll be hard pressed to not find yourself tapping along with the music.

With this marking their third collaboration since Crazy, Stupid Love and Gangster Squad, it’s crystal clear at this point that Emma Stone and Ryan Gosling have brilliant chemistry together, and it is their chemistry along with brilliant performances from them both that help elevate La La Land to a golden standard for musical cinema. As well as the electric performances, the music is also beautiful to listen to. With each note that Stone and Gosling sing, it will find its way to melt your heart and fall in love with these characters, even if a member of the audience is about as emotionless as a Cyberman from Doctor Who, it will lift your spirits and leave you floating on cloud nine. All of us undoubtedly have dreams and aspirations for want we want to do with our lives, and this film has much to say about following your dreams, that will hit home with almost everyone.

Despite those moments of sheer joy, it is not all sunshine and rainbows for our leads, as they encounter some tricky obstacles in both of their lives. Rest assured however, that no one is throwing any chairs at anyone this time, and no psycho music teachers brutally tearing people down. This is nowhere near as intense as Whiplash was, but it’s just as well written and equally tremendously acted, with a glorious cameo appearance from J.K Simmons, this time not in raging jazz teacher mode.

Chazelle, with only his third feature film, seems to have found his spark, when it comes to live action musicals, currently he is the man of the moment, and is certainly proving himself to be a formidable director and one to watch. A recording breaking Golden Globe haul accomplished, with the Oscars in sight, La La Land looks certainly set to sing and dance its way to more awards glory.