2020-2029, Film Review

Fall (2022)

Posted on April 2, 2023 by Martin: Through the Silver Screen

**© Lionsgate and Signature Entertainment**

Fall – Film Review

Cast: Grace Caroline Currey, Virginia Gardner, Mason Gooding, Jeffrey Dean Morgan

Director: Scott Mann

Synopsis: Two friends find themselves stranded atop a 2,000ft tall radio tower…

Review: As human beings going about our day-to-day lives, we are accustomed to having our feet on terra firma for most of the time. However, there are those daredevils out there who love to be adventurous/out of their minds (delete where appropriate), and climb exceedingly tall structures all in the name of thrill-seeking and adventure. Such individuals form the basis for this simple, but undeniably extremely tense and nerve-shredding thriller which is exhilarating and positively terrifying for those who are utterly terrified of heights.

Becky (Currey) and Hunter (Gardner) are two best friends who love to go rock climbing. On one particular day, they are out climbing a mountain one day, with Becky’s husband Dan (Gooding), when tragedy strikes. Fast forward nearly a year, and Becky’s life has spiralled where she is in a deep depression and battling alcoholism. Upon encouragement from Hunter, the two of them set out to climb the 2,000 ft B67 TV tower in the middle of nowhere, so the two can rediscover their passion for adventure and enable Becky can finally move on from the tragic events one year prior. The adventure goes to plan when the two of them are, for a brief moment, on top of the world for a brief moment. However, as they begin to make their descent, disaster strikes as the ladder they used to climb up breaks apart, leaving them stranded atop the tower, with no way down and with very little in the way of supplies.

To put it into perspective, standing at 2,000ft, the B67 TV tower would be the fourth tallest building in the world behind only the Burj Khalifa in Dubai, the Merdeka 118 in Malaysia and the Shanghai Tower, which is all sorts of terrifying. While the actors were not actually at such extraordinarily unnerving heights, the decision by the filmmakers to shoot on a practical location in the California desert, and construct the upper part of the tower on top of a mountain, is extremely effective as it adds a great of authenticity to the suspense. Mann’s direction, with the vertiginous cinematography and a very effective score, all combine to sell the peril of their situation and are guaranteed to make anyone sweat profusely with anxiety as the horror of the situation unfolds as these two battle the elements, and more, in their bid to stay alive.

The script by Mann and Jonathan Frank wastes little time establishing the core events which prompt Becky and Hunter to make this perilous ascent up to the top of this abandoned TV tower. To make matters worse for them, the platform at the top of the tower is exceedingly narrow, giving Becky and Hunter little room for manoeuvre as they must find a way to ensure they avoid that terrifying 2,000 ft drop back down to earth and alert the authorities to their plight. While the script does veer a bit into the overly dramatic with some of the dialogue between the two of them, it serves to develop the relationship between them, and the performances of both Currey and Gardner remain strong as the desperation of their plight means drastic action may well have to be taken sooner or later.

The seemingly hopeless nature of these two poor souls’ plight enables Mann to keep the audience on their toes throughout the film’s 97-minute run time, while retaining the nail-biting tension. Yet by the time it reaches the culmination of the third act, the ending does feel a little bit rushed. However, it is a refreshingly original and extremely effective tale of survival in the most perilous circumstances. By the time the credits begin to roll, and your heart rate has returned to normal, you may be eternally thankful you’ve got those two feet on the ground and will almost certainly have no plans to scale such heights now, or at any point in the future.

The premise is totally absurd, but due to extremely compelling film-making, Fall is an enthralling and simultaneously terrifying white-knuckle ride.

2020-2029, Film Review

Bullet Train (2022)

Posted on September 18, 2022September 19, 2022 by Martin: Through the Silver Screen

© Columbia Pictures, North Productions and Sony Pictures

Bullet Train – Film Review

Cast: Brad Pitt, Joey King, Aaron Taylor-Johnson, Brian Tyree Henry, Andrew Koji, Hiroyuki Sanada, Benito A Martínez Ocasio, Zazie Beetz, Sandra Bullock

Director: David Leitch

Synopsis: A group of assassins aboard a high-speed train in Japan discover that their respective missions are interconnected…

Review: Trian delays and cancellations, expensive fares and overcrowding in stations and on platforms, are some of the many problems that can all quickly turn the most pleasant of journeys into a nightmare. Hence, the idea of a super-fast train that could get you to your destination in an even shorter time seems like it would be the speediest and most stress-free commute ever. Yet, imagine if your train had several dangerous, highly skilled assassins, sitting in its carriages, it might well persuade someone to look for alternative routes. However, with director David Leitch the conductor of this service, this is one train ride you will definitely want to board.

Ladybug (Pitt), is a down-on-his-luck assassin, who while extremely good at his job is, determined to get out of the profession. Tasked by his handler (Bullock) to get on the world’s fastest bullet train travelling from Tokyo to Kyoto, retrieve a briefcase, and get off at the next stop seems like an easy enough assignment. However, matters get considerably complicated when Ladybug realises that he is not the only one aboard the train who has taken an interest in the briefcase. With a plethora of highly skilled assassins on board (with what at first glance appear to be unrelated missions), the realisation soon dawns on Ladybug that there is a connection between their presence and the highly dangerous criminal known only as The White Death. Turning what should have been a simple mission into a more complex one, Ladybug finds himself entangled in a brutal web of violence that goes off the rails in a thrilling manner.

Adapted from Kôtarô Isaka’s novel of the same name, Zak Olkewicz’s screenplay wastes very little time establishing the key characters at play that all for one reason or another, have an interest in this briefcase. The screenplay also utilises non-linear storytelling to establish each character’s motivations and who is in whose respective crosshairs. The use of non-linear storytelling can initially be a bit hard to follow. However, once you have reached the light at the end of this tunnel and the tracks converge, all becomes clear.

There are a pair of contract killers who go by the aliases of Tangerine (Taylor-Johnson) and Lemon (Tyree Henry), a mysterious assassin known as The Prince (King) who puts on a youthful persona to her advantage in order to deceive her enemies, an assassin known as the Wolf (Ocasio) is out on a deeply personal revenge mission. Lastly, there’s Yuichi Kimura (Andrew Koji), who like The Wolf, is also on a deeply personal mission following a family accident. Lastly, you have Kimura’s father, known only as the Elder (Sanada) who’s doing all he can to protect his family. However, for all of the wonderful talent that the film undeniably boasts, there is an element of whitewashing that is extremely difficult to overlook. Given the film’s source material and the setting, to have only two Japanese actors among the core cast feels like a massive missed opportunity.

Despite that misstep with the casting, every actor here is having a ton of fun with the material, and for the first two acts of the film, it is a delightfully riveting watch. Like the speeding bullet train, the mystery of this case, why all these different assassins with different agendas are after it begins to unravel in a gloriously bloody fashion. Brad Pitt is someone who has carved a career as one of the most recognisable A-listers working today, and once again, he brings his usual charisma. It is however Tyree Henry and Taylor-Johnson, as the hilarious double act of British assassins who steal the show. Sharing witty and often hilarious banter over topics such as Thomas the Tank Engine, these guys have built a very sincere familial-like friendship built over the missions they have shared together, making their relationship the heart and soul of the film.

David Leitch is well versed in the world of action filmmaking, especially given his prior stuntman experience. His attention to detail provides Bullet Train with an eye-pleasing visual aesthetic, that boasts highly stylised action scenes and violent payoffs. Confining the action scenes to the narrow aisles of a speeding train is a refreshing change of pace, as it gives the characters a real headache, forcing them to scrap in an area where there is not exactly much room to hide. Despite clocking in at two hours and six minutes, this particular train journey begins to run out of steam towards the end, and would have benefitted if it had concluded its journey a few stations prior. Nevertheless, the end product is such a riotous blast of fun that by the time this train has reached the end of the line, you will want to immediately book a return ticket.

It might seem like the commute from hell, but with pulsating action and every single member of the cast having a blast, makes this particular train journey an extremely enjoyable and exhilarating ride.

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.

You cannot fault the ambition, but even with a committed performance from McKenzie, a slightly muddled screenplay prevents Last Night in Soho from becoming another classic in Wright’s filmography.

2020-2029, Film Review

Promising Young Woman (2021)

Posted on April 13, 2021April 16, 2021 by Martin: Through the Silver Screen

**© Focus Features , LuckyChap Entertainment and FilmNation Entertainment**

Promising Young Woman – Film Review

Cast: Carey Mulligan, Bo Burnham, Alison Brie, Clancy Brown, Jennifer Coolidge, Laverne Cox, Connie Britton, Christopher Mintz-Plasse, Chris Lowell, Alfred Molina

Director: Emerald Fennell

Synopsis: After a traumatic event in her past, a young woman goes to bars and nightclubs pretending to be drunk in order to catch out men who try to take advantage over her while they believe her to be intoxicated…

Review: For the the past few years, a number of movements have risen up about urgent topics that have demanded the world to sit up, take notice, and to initiate conversations to enact meaningful changes in our society. As an example, it was thanks to the bravery of those who launched the Me Too and the Time’s Up movements. These movements forced the world to have some much needed conversations about sexual harassment and abuse. For far too long, women were being subjected to harassment and unwanted advances by men, in just about every aspect of day-to-day life. This need for a film, that holds up a mirror to our society, demanding everyone to talk about sexual harassment and rape, plays heavily into the feature film debut of Emerald Fennell.

Cassie (Mulligan) is a 30 year old who earns her living working in a coffee shop. Years earlier, she began med school with much promise about her future. This is until everything changed, as she was forced to drop out, due an extremely traumatic incident involving a very close friend. Years later, having never fully recovered, Cassie goes to nightclubs and bars in the evening, pretending to be totally drunk. This inevitably attracts the attention of men, who initially offer to take her home, which quickly changes to back to their place for a few more drinks and to try and take advantage of her while they believe her to be too drunk to give consent. However, by revealing that she is completely stone cold sober every time, she turns the tables on these men, giving them a revelatory lesson about their predatory behaviour. Yet through every interaction with one of these men, Cassie has one ulterior motive, and it is revenge.

The well known saying “Hell hath no fury like a woman scorned,” could definitely be applied to numerous characters throughout film history. Yet, one could make the argument that it has never been more applicable when it comes to Cassie, and Carey Mulligan’s performance is absolutely electrifying to watch. There are so many layers to her character as to start with, she has to portray the vulnerability of the character given everything she’s been through. She expertly contrasts the scenes where she is pretending to be drunk, with the scenes where she completely turns the tables on the men who were poised to take advantage of her. From that moment on, it is absolutely crystal clear that it is Cassie who’s the one in control of the situation, while these so called “nice guys” squirm with discomfort.

Whenever a film is brave enough to tackle two almost completely different genres together into one film, it’s definitely a risk, and there has need to ensure that the right balance is struck. Through her direction, Fennell pulls this off magnificently. The film dips in and out between being an almost horror film-esque revenge thriller, whilst also being a colourful rom-com as Cassie connects with a character from her Med School past (played excellently by Bo Burnham). Yet, the rom-com element never negates the revenge-thriller aspect, and vice versa. There is a brief lag in the film’s pacing in and around the second/third act. However, this is definitely a momentary lapse, before Cassie’s endgame comes into view, as the events that set her off on this path of revenge come full circle.

The film is once again a timely reminder of the work that needs to be done when it comes to dealing with harassment, in just about every single walk of life, and how society once again fails to protect women who fall victim to the predatory behaviour that they too often experience at the hands of men. Certain elements of the film may be uncomfortable to sit through, but it’s clear that Fennell’s goal is not to provide comfort to the audience. Her aim is to open their eyes, especially those of men, and remind them of the seemingly never ending barrage of unwanted attention and harassment that women get on a constant basis. In the years since the Me Too movement sparked those much needed conversations, a few films have made efforts to tackle the subject. However, no film has done it such a daring, yet successful manner. Whenever a film comes along that strives to hold up a mirror to the society we’re living in, it must leave a lasting impression, and Emerald Fennell’s directorial debut does not miss.

Boasting a career best performance from Carey Mulligan, thanks to its bold and daring approach to its timely subject matter, Emerald Fennell’s directorial debut is perhaps the most important film in the post #MeToo era of Hollywood.

2010-2019, Film Review

Official Secrets (2019)

Posted on November 9, 2019November 9, 2019 by Martin: Through the Silver Screen

**Image is property of Entertainment One**

Official Secrets – Film Review

Cast: Keira Knightley, Matt Smith, Matthew Goode, Rhys Ifans, Adam Bakri, Ralph Fiennes, Conleth Hill

Director: Gavin Hood

Synopsis: Telling the true story of a GCHQ employee who, in violation of the Official Secrets Act of 1998, leaked a top secret memo containing information relating to the 2003 Invasion of Iraq to the press.

Review: One of the many wonderful aspects about film is that it can shine a light on an event from decades ago, and reintroduce it into the public consciousness for a whole new generation to learn about. This can also be applicable for historic events set in more modern times, as certain stories can get buried in the sea of round-the-clock news that the world has become. Stories that deserve to be known to people across the globe. One such example is that of a Government employee and her courageous decision to go against her government, at the very real risk of prosecution is a very brave one, especially in this day and age of emotionally charged political discourse.

The government employee in question here is GCHQ employee Katharine Gun (Knightley). On what appears to be a regular work day, an email comes through containing a memo with some top secret information relating to the 2003 Invasion of Iraq, and whether certain countries were being coerced into voting for a resolution to go to war. Feeling that such information deserves to be shared with the wider world, and not buried behind legal barriers, she leaks the memo via a close confidante. Soon enough, the memo lands in the hands of the Press, who are left with their own risky decision as to whether they should invoke the fury of the government, and run the story.

Keira Knightely is an actor who certainly likes to pick roles in period dramas. However, here she comes back to modern(ish) times with a bang. She delivers a sensational performance as the woman who bravely takes a stand, when seemingly no one else would. Even though, such an action comes with the very severe risk of imprisonment. With each word, she displays her bravery and conviction in her belief that what she is doing is unequivocally the right thing to do. This is Knightley’s film and she carries it on her shoulders excellently, but she’s provided with a sea of strong supporting roles. Including the ever likeable Matt Smith as the leading journalist who first picks up the story, and a brief but effective performance from the consistently reliable Ralph Fiennes as the lawyer who represents Gun as she faces the threat of prosecution from the Government.

For a thriller that centres on espionage, especially one that doesn’t fire a single shot, there’s a necessity for a well written, sharp screenplay that keeps the audiences’s attention. There’s a risk that with this subject matter, that it could become perhaps a bit too dreary. However, with a script co-written by Gavin Hood, Gregory Bernstein and Sara Bernstein, the intrigue and the suspense is maintained throughout the film. Though there are one or two moments that feel somewhat overly dramatised, the film never fails to be gripping. As the top secret document passes from numerous parties, all while the very real threat of prosecution hangs over Katharine Gun’s shoulders.

For a film that depicts events that are relatively speaking, not actually that long ago, there’s a very important message in this film that needs to be seized upon and relayed the world over. Namely, that a time when governments the world over are under intense scrutiny, every day, people like Katharine Gun are standing up for what’s right and calling into account actions that must be brought into the public domain for everyone to know about. Furthermore, to ensure that in the future, damning information such as is not buried under mountains of government paperwork, only to be locked into a safe, never to be spoken about again.

With a magnificent lead performance from Knightley, Official Secrets brings to light a story of paramount importance, and one woman’s brave fight against her Government that feels extremely timely in this day and age of bitterly-divided, partisan politics.

2010-2019, Film Review

Midsommar (2019)

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

Midsommar – Film Review

Cast: Florence Pugh, Jack Reynor, William Jackson Harper, Vilhelm Blomgren, Archie Madekwe, Ellora Torchia, Will Poulter

Director: Ari Aster

Synopsis: After personal tragedy strikes, troubled student Dani travels to Sweden with her boyfriend Christian, and a group of their friends. What starts out as a pleasant trip, quickly descends into a nightmare as they become involved with a sinister pagan cult…

Review: Quite often, when you picture the setting of horror films, the scene of a house, set in the pitch black night-time may come to mind. However, this doesn’t have to always be the case. Case in point, in his follow up feature to Hereditary, Ari Aster proves that you don’t necessarily need the dead of night darkness to make something seem scary, as something just as horrifying or unnerving can occur when the sun is shining in the bright summer sky.

Dani (Pugh) is going through an extremely difficult time in her life in the wake of an unimaginable personal tragedy, and it’s having an adverse effect on her relationship with her boyfriend Christian (Reynor). When she finds out he’s heading off to Sweden with a few of their friends for a festival that only happens once every 90 years, she decides to join them hoping to take her mind off things. Upon arrival, while things start off nice and peaceful, it doesn’t take long for things to go sour as the festival quickly descends into a hellish nightmare, basking in the hot Swedish Summer sun.

There is no sense of urgency in which Aster chooses to tell his story. His screenplay deliberately bides its time so this enables each act of the film to serve a purpose to the story, though this slow pace could be problematic to some viewers. The first act is solely concentrated on Dani’s testing relationship with Christian that is on the brink of collapse, fuelling a sense of dread for Dani that lingers throughout the film. Through all of the ensuing horror that the festival’s activities bring later on in the film, the relationship of these two people is at the centre of this sun-soaked nightmare.

Once we get to Sweden however, and the festivities have begun that things start to get deeply disturbing for Dani, Christian and their friends. To say that this film is not for the faint of heart would be an extreme understatement, due to quite the large amount of disturbing imagery. Though it would be easy to be shocking for the sake of being shocking, the imagery is thought provoking, with the themes of grief, loneliness and rejection are all present. With just about every frame, there’s a lot of symbolism to be extracted from the unnerving festivities, so much so that one could write pages upon pages of analysis of what is being depicted on-screen.

There is not a single false note in any of the performances, but without doubt Dani is the heart and soul of the film, and Florence Pugh gives a wounded, layered, awards worthy performance. Among, Christian and the rest of their gang, it’s Will Poulter’s Mark who comes closest to stealing the spotlight as a man who’s less than impressed with the festival’s activities. This is something that the locals don’t take kindly to, and they consequently give off sinister vibes to send a shiver (or two) down your spine.

Aster has crafted something that will be analysed for many years to come. The direction, combined with extremely beautiful cinematography and immaculate production design are all beautiful to look at. These juxtapose perfectly with the trauma of the events playing out in front of us, it manages to be simultaneously haunting and mesmerising to look at, with an unsettling score from The Haxan Cloak. Nightmares definitely can happen in broad daylight, hence, we should all just stay in doors.

Thematically thought-provoking, and visually immaculate, with a haunting but powerful lead performance from Florence Pugh. Ari Aster’s second foray into horror film-making is a beautiful nightmare come to life.

2010-2019, Film Review

Us (2019)

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

**Image is property of Universal, Monkeypaw Productions and Blumhouse Pictures**

Us – Film Review

Cast: Lupita Nyong’o, Winston Duke, Shahadi Wright Joseph, Evan Alex, Elisabeth Moss

Director: Jordan Peele

Synopsis: As they relax during a summer vacation, a family’s holiday quickly turns to a nightmare when they receive some unwelcome, and very familiar, looking guests at their home…

Review: For someone who made their name for many years as one half of a very successful comedy duo, Jordan Peele’s career has gone in quite a different direction in recent years. As he has made the transition from comedy, to film-maker pretty seamlessly. After the success of the unnerving and furiously relevant Get Out, which bagged him a much deserved Oscar, Peele is back to terrify audiences once again.

At the centre of this new nightmare is Adelaide (Nyong’o), her husband Gabe (Duke), and their two kids Zora (Joseph) and Jason (Alex), setting off for a vacation to their summer home. All appears to be going swimmingly with the family enjoying themselves. Not long after arriving however, the holiday goes a bit awry, when some visitors arrive unannounced. It quickly dawns on them that these people, who bear something of a close resemblance to themselves, have got some sinister motivations. Thus a deeply unnerving ordeal lies in wait, and the family find themselves in a fierce battle to stay alive, a battle literally against themselves.

Like with Get Out, there is a vast amount of subtext and deeper meanings to Peele’s screenplay that are definitely intended to mess with your mind. It’s not quite as politically charged as his previous film, but nevertheless Peele isn’t afraid to get across some dark and disturbing symbolism. He shines a light on humanity, and the human condition, which can be open to a lot of different interpretations, chief among them being is humanity its own worst enemy? This is far more than your typical home invasion film, and Peele’s direction in these intense dramatic scenes is masterful. Even with the haunting score from Michael Abels and Mike Gioulakis’s ominous cinematography, it’s proof if needed that you can make anything scary if you want to. You will never look at red overalls and scissors in the same way ever again.

To be asked play two very different versions of yourself cannot be an easy task for any actor, but it’s a task that every member of this family rises to in spectacular, and haunting fashion. Lupita Nyong’o has proven herself in the past to be a fantastic actress, but here she gives maybe the performance of her career as both she and her doppelganger counterpart are the leaders of their families. After his hilarious turn in Black Panther, Winston Duke is on hand to provide the comedy, and he does so brilliantly. When adding comedy into a horror story, it can be extremely problematic as it can negate the horror elements of the story, but Peele’s background in comedy ensures that the film stays on track.

Despite a mere two films under his belt as a director, Peele has in the last couple of years gone from strength to strength. It’s one thing to make your first film to be eerie, enthralling, extremely well layered and thought provoking in terms of its themes. Yet to follow that up with another equally thematically deep and haunting film is a resounding testament to Peele’s remarkable talents as a writer and a director. Get Out was by no means a fluke, and now audiences, especially fans of the horror genre (and their doppelgangers) have a new name to hail as a horror film-making force to be reckoned with.

Brilliantly tense performance(s) across the board, especially from Nyong’o, Peele further enhances his reputation as a horror maestro with a suspenseful and thought-provoking sophomore feature.

2010-2019, Film Review

Widows (2018)

Posted on November 16, 2018November 16, 2018 by Martin: Through the Silver Screen

Image is property of 20th Century Fox, Film4 Productions and Regency

Widows – Film Review

Cast: Viola Davis, Michelle Rodriguez, Elizabeth Debicki, Cynthia Erivo, Colin Farrell, Brian Tyree Henry, Daniel Kaluuya, Jacki Weaver, Carrie Coon, Robert Duvall, Jon Bernthal, Liam Neeson

Director: Steve McQueen

Synopsis: After a bank heist goes horribly wrong leading to the deaths of all the crew, their widows step up to finish what their husbands started…

Review: When as a director, you make one of the most heart-wrenching but extremely impactful pieces of cinema to come out in this decade. A film that landed you the Best Picture Oscar no less, how do you follow that up? For Steve McQueen, following on from his success with the aforementioned 12 Years A Slave, the answer is simple. You team up with another recent Oscar winner and make another exhilarating, heart-pounding piece of cinema. Namely a heist film quite unlike anything the genre has concocted before.

After a team of criminals are caught up in a heist that gets all of them killed, their widows are left in a very desperate situation. Veronica Rawlings (Davis) is the widow of the leader of the crew, Harry (Neeson). Not long after her husband’s death, she receives a rather uncomfortable visit from crime boss Jamal Manning, (Brian Tyree Henry) the target of the botched heist. Demanding repayment of the stolen money, and given a rather tight window in order to do so, Veronica has the plans for what would have been her husband’s next job. Needing her own crew to pull it off, recruits the other widows who also lost their husbands in the same heist, for a new mission to score the money that their husbands stole. Conceptually, though this may sound like your average heist film, in execution, it is a very different beast.

The screenplay, co-written by McQueen and Gone Girl author Gillian Flynn adds deep political subtext to this story that really gives the film a unique feel to it. Furthermore with such powerful women at the centre of this gripping story, in the era of the Me Too movement, it feels all the more powerful and relevant in modern times. What McQueen and Flynn’s script does so excellently is give each woman involved in this daring heist a significant amount of development. Though they come from different backgrounds, each woman absolutely stands on her own two feet and all give excellent performances.

Leading the pack and fresh from her Oscar success, Viola Davis is once again superb in the role of Veronica. She is a woman who has been to hell and back again, both with events in her past and in the immediate aftermath of her husband’s demise. Yet her fiery spirit keeps her going through this turbulent time. Likewise for Alice (Debicki) and (Rodriguez), both of whom are also dealt with a torrid set of consequences in the wake of the heist that robbed them of their spouses. But with the resolute Veronica at the helm, there is no time to mope, they have some work to do.

Though the women have the spotlight absolutely deservedly on them, Daniel Kaluyya’s portrayal of Jamal’s brother, Jatamme is magnificent and absolutely terrifying in equal measure. A VERY different kind of role especially in comparison to his Oscar nominated performance in Get Out, but with every moment he has on screen, his cold demeanour and brutality is enough to send shivers down the spines of the audience. This is a man whose path you do not want to cross under any circumstances.

With the theme of powerful women front and centre, McQueen also brilliantly weaves political drama into the story. There is one moment in particular that really stands out in terms of how the scene is filmed. And by doing it this way, it really sends a startling message about modern day America and in particular modern American politics. It is another film released this year that feels very timely in terms of its themes, whilst also being not afraid to pull any punches, or to let the bullets fly.

A heist/thriller with a lot to say for itself, boosted an impeccable stellar ensemble cast and bold direction, another exhilarating addition to the filmography of Steve McQueen.

2010-2019, Film Review

Bad Times at the El Royale (2018)

Posted on October 20, 2018October 21, 2018 by Martin: Through the Silver Screen

**Image is property of 20th Century Fox**

Bad Times at the El Royale – Film Review

Cast: Jeff Bridges, Cynthia Erivo, Dakota Johnson, Jon Hamm, Cailee Spaeny, Lewis Pullman, Chris Hemsworth

Director: Drew Goddard

Synopsis: The once famous El Royale hotel in Lake Tahoe has become a shadow of its former self. However, when a bunch of mysterious individuals all check into the hotel on the same day, it promises to be an eventful evening…

Review: If a film pitches itself as a mystery/thriller, there has got to be an almost immediate moment in the first few minutes that grabs the audience’s attention and ensure they become subsequently absorbed into the ensuing suspense of the unfolding drama. Within the opening moments of writer/director Drew Goddard’s second directorial effort, you get just a taste of the drama and intrigue of what’s to come, with more than a few dashes of neo-noir thrown in for good measure.

It is 1960s America, and the titular El Royale hotel has, shall we say, seen better days. However things begin to take a turn for the interesting when an unusual collection of folks all rock up looking for some lodgings. It doesn’t however take long before things begin to unravel and our guests may not be who they appear to be. These guests consist of a Priest (Bridges) , a singer trying to catch her break (Erivo) , a smarmy salesman (Hamm) and a woman (Johnson), whose identity is initially withheld. There’s something immediately suspicious about each member of this cast, as to who they really are, and what secrets they’re hiding.

Every member of this cast is on their best form, and there is not one performance that feels out of place. However somewhat unsurprisingly, Jeff Bridges is leading the way, being his usual charismatic self in a role that (probably) was exclusively written with him in mind. A relative newcomer, Cynthia Erivo shines very brightly as a singer who really hits those notes both in terms of her incredible singing ability and her performance. Yet the scene stealer in all of this is Chris Hemsworth, once again not shy in showing the world his muscles. He gives an astonishing performance, the likes of which we haven’t really seen from him before, certainly a world away from his work in the realm of Norse mythology.

A quick glance at Goddard’s resume shows some impressive projects, such as the scribe of The Martian, the show-runner of season 1 of Netflix’s Daredevil, and his directorial debut The Cabin in the Woods. It is a resume not to be sneezed at. For the remarkable array of acting talent he has assembled here, his screenplay is ambitious to say the least in the way it chooses to present itself to the audience. It seems apparent that Goddard was inspired by Quentin Tarantino, and the ways that the latter has used to tell some of his stories, to great effect.

It is smart and ambitious story-telling on Goddard’s part, but there are instances where the momentum that is being built in a certain scene is lost, as the perspective of the story changes. This can, and does have an extremely negative impact on the film’s pacing, which is just a tad problematic for a film that centres on a mystery. Nevertheless, despite that problematic pacing, the film really starts to click once we reach that all important third act and everything that these interwoven stories have been building towards comes to an exciting, and nerve-shredding climax.

When such original pieces of work like this come along, something that is increasingly rare these days, they must not be overlooked. However, for all of its originality with its premise, its eclectic array of characters and very colourful and stylish production design, that potential is never fully realised. Hence, those who check-in to the El Royale, may just check out with not as much satisfaction as they almost certainly would want to.

Goddard turns on the style with some lavish production design and a unique bunch of characters, but the screenplay just feels too ambitious for its own good, and is at certain points a case of style over substance.

2010-2019, Film Review

A Simple Favour (2018)

Posted on October 3, 2018October 4, 2018 by Martin: Through the Silver Screen

**Image is property of Lionsgate and Feigco Entertainment**

A Simple Favour – Film Review

Cast: Anna Kendrick, Blake Lively, Henry Golding

Director: Paul Feig

Synopsis: Single mother Stephanie (Kendrick) meets and befriends high-flying Emily (Lively). When Emily suddenly disappears without warning, Stephanie investigates the circumstances surrounding her disappearance…

Review: When any person goes missing without a trace, there is bound to be a plethora of questions surrounding that particular person’s disappearance. As a consequence of something like this, an intense media scrutiny can begin to surface as to what transpired. The impact of which often falls hardest on those that knew the person the most, but what if they knew more than they were letting on?

An intense media furore is certainly something that director Paul Feig can certainly relate to, with the fierce backlash that ensued following his Ghostbusters reboot. However, in this interesting concoction of thriller meets comedy, that forensic media glare takes a backseat. Instead, the camera that we partly watch this story unfold from is the webcam belonging to single mother and vlogger Stephanie. When picking up her son from school, she crosses paths with the chic Emily who is also on the school collecting run. Though they are in many ways complete opposites, they form a close connection and become good friends. When Emily disappears one day after asking Stephanie to pick up her son from school, Stephanie starts to piece together the clues of what might have happened to Emily.

As a director whose last few films have all had female leads, but in very much comedic central films, this is uncharted territory for Feig. As such, he has left behind frequent collaborator Melissa McCarthy and recruited Anna Kendrick and Blake Lively as his leading women this time. Kendrick as Stephanie has something that is very quirky and charming about her, but there is more to her goody mummy vlogger persona that she is letting on. Likewise for Lively as Emily who may dress in a suave manner, but there are some sinister secrets about her past also. Both give excellent performances, playing off each other tremendously well, though ultimately it is Lively who ends up stealing the show from Kendrick as well as her husband Sean (Henry Golding).

The film pitches itself in a very Gone Girl-esque manner, and the screenplay from Jessica Sharzer certainly tries to capture that grittiness and suspense that Gone Girl had in abundance. While it does achieve this to a certain extent, it is nowhere near as compelling nor suspenseful as David Fincher’s aforementioned thriller. Unfortunately while trying to balance the comedic element of the story with the dark and gritty nature, there is a little bit of a mismatch when it comes to the overall tone of the film. Furthermore, by the time the film reaches the third act, it all feels a bit too rushed. As such the suspense that has been built up in the preceding two acts, is completely squandered on a finale that just packs so many twists and turns, it feels like a classic case of less would have been more.

For all the excessive twists and turns that the film offers, one thing that it certainly is not lacking in is style. Feig certainly brings this to his direction in a suitable manner that befits this stylish backdrop. There’s a very aesthetically pleasing visual style to aspects such as product design, and it is evident that no expense was spared on the costumes either, especially when it comes to Emily’s attire. However what the film brings to the table in style, it doesn’t deliver in terms of providing a truly gripping and unnerving thriller that just doesn’t pull as many punches that past films of a similar nature delivered in abundance.