The Midnight Sky [Netflix]

This film, and its star/director, George Clooney, has its heart in the right place but unfortunately the heart was neither pumping strongly enough nor fast enough as the story just clung desperately onto life support as it inched towards its inevitable conclusion. And in keeping with the analogy, there were some moments of spark and hope of life, like a brief burst of adrenaline, but it never did sustain and resuscitation proved futile. 

The Midnight Sky was just a series of space adventure/survivor thriller cliches. It was as if Clooney had a checklist and was just dutifully checking them off one at a time, but he did not even seem to bother about executing these cliches properly. 

There was nothing really original about the story or the concept, and so it was left to the director to try to invigorate the old with something new or infuse an original vision. Unfortunately, again, Clooney is not the director to do so. His pacing was laboriously - and unnecessarily - slow and his directing style was littered with cliches and eye-rolling predictability. Sure, there were some gorgeous shots courtesy of cinematographer Martin Ruhe, and one really exciting - adrenaline pumping - sequence, but that was about it. The emotional core was missing. 

Clooney could not decide if the emotional weight should be carried by his Earth-bound character or the space team, and so attention was divided 50-50 and both parties ended up being shallow and superficial. 

Clooney's vainglorious attempts to insert flashbacks to possibly flesh out his gnarly old man was clumsy and blatant, more or less backfiring on its purpose since neither young him or his love interest remotely even provided depth or insight into the old him. 

As for the space-crew, the interpersonal relationships did not have enough time to deepen. They may have been in space for two years but other than Felicity Jones and David Oyelowo who have a reason for closeness, the others were just broadly characterised with cringeworthy bantering and trope-y backstories. Kyle Chandler, Tiffany Boone and Demian Bichir tried their best, but alas, writer Mark L. Smith and Clooney did not. 

Alexandre Desplat's schizophrenic score did no favours too. There were beautiful moments but it lacked consistency throughout, sometimes veering on jarring and too in-your-face. For a film that emphasised so much on thoughtful silence, the music cues were unfortunate. 

After the success of Ma Rainey's and Mank, it looks like Netflix has hit a road bump.

The Prom [Netflix]

This was the definition of hate-watching. Not even the catchy tunes by Matthew Sklar (paired with the less catchy lyrics by Chad Beguelin) and the best efforts of Nicole Kidman (the best of the quartet but utterly wasted and mostly invisible) and Meryl Streep (great actress deliciously hamming it up and a decent singer but definitely not a belter), could save this bright and soul-less Glee-esque "very special episode" remake. But yet, the sweet, innocuous central YA romance and the desire to see bigotry gets its butt kicked, albeit way too unrealistically and ultimately unsatisfyingly, had us impatiently - and hopefully - drunkenly awaiting the end of its bloated and excessive 131 minutes runtime.

Ryan Murphy had no sense of direction (way too much unnecessary camera movements, edits and cuts, and for goodness sake, a whole Fosse-inspired number with no focus on hands, arms, legs or the whole body?!) nor any sensibility in appropriating a stage musical to the screen (just because the camera can move, unlike on a stage, does not mean it has to keep on moving!). 

However, the most egregiously of all, especially given who Murphy is and how he has positioned himself in Hollwood, why in holy Patti LuPone and Bernadette Peter's names did he cast James Corden in the role of Barry Glickman?! How infuriatingly insulting it must have been! What? Were Victor Garber or Nathan Lane or Billy Porter or Alan Cumming not available? It would not have been that bad if Corden did a decent job, but even if he could a tune, his performance was cringeworthy and inconsistent and stereotypical and just, simply put, bad.

What The Prom did well - credit where credit is due - was in the YA component of its LGBTQIA+ storyline, something Murphy had honed in his Glee days, and also in its discovery of newcomer Jo Ellen Pellman. Pellman has an earnest and sincere appeal that made rooting for her easy. It also helped that her singing voice is lovely. Then again, it was not hard to be on par with this group of non-Broadway singers bar Andrew Rannells (who really belted out in his solo, although hard not to imagine his casting was a sly nod to his Mormon days).

We also had the surprisingly touching and appropriate pairing of Streep and Michael-Keegan Key, a playing-against-type Kerry Washington who can hold a tune, and a lovely preview of Steven Spielberg's Anita in Ariana DeBose. 

Twice Oscar-nominated cinematographer Matthew Libatique lensed the film and although the garish, eclectic, colour-saturated palette was not unpleasing, this was definitely nowhere near what he is capable of. 

The Prom continues Murphy's trend of picking noteworthy projects but just totally missing the point of the subject matter and story, and just running it straight into the ground (or into the fiery pits of hell).

Let Them All Talk

An experimental film by Steven Soderbergh based off a skeletal screenplay by Deborah Eisenberg with dialogue mainly improvised by the actors that mostly worked due to the talent and chemistry of its main stars. The film kind of meandered along and you can really feel the whole two weeks that they were stuck on the Queen Mary 2 crossing the Atlantic event though the film only ran just under two hours. Thankfully, Meryl Streep, Dianne Wiest and Candice Bergen were consummate professionals and their scenes felt natural and reassuring. The subplot involving Gemma Chan and Lucas Hedges, although interesting, showed that these two good looking young people still needed a lot more time to hone their crafts when pitted against these elder stateswomen. They are good actors but their scenes felt less naturalistic and just slightly self-conscious.

The driving narrative of the film was rather straightforward and Eisenberg's short story-telling roots were clearly evident in the structure. If we had just stuck to that, the film could have been a lot more interesting. Streep, Wiest and Bergen had great chemistry and a whole lot of talent, and if we had just focused on them three, it would have made an interesting character study of the longstanding, and long-suffering, friendship of these three women.  But instead, Soderbergh dragged it out, and mixed it up with the Chan and Hedges B-plot, and a mystery writer C-plot. This also ended up such that the titular "talk" just felt flat and inconsequential despite the best efforts of the actresses.

Streep and Bergen both seemed really at ease with this style of film-making and they were both very interesting to observe. Wiest, on the other hand, seemed more measured and nuanced, and that could also be due to how she chose to portray her character. Chan and Hedges had their own chemistry going and it would be fun to see them in a rom-com one day.

Thomas Newman composed the score and it helped with a lot of the scene transitions, but otherwise it was not memorable. Soderbergh did his own cinematography under the pseudonym Peter Andrews and although competent, was not exactly complimentary. 

Let Them All Talk was an interesting experiment that if it had been made more traditionally could have pack an emotional punch especially with such distinguished ladies leading the charge. However, in this case it just bopped along like a barrel on the open ocean, placidly passing time.

Mank [Netflix]

 

A brilliant, brilliant, quintessentially David Fincher film. Superbly directed by Fincher with a tremendously clever and witty screenplay by Fincher Snr, Mank was utterly engrossing and fascinating. Anchored by an Oscar-worthy performance from Gary Oldman with a fantastic supporting cast, especially a revelatory Amanda Seyfried. Finally she has been given a role that will likely get her a Best Supporting Actress nomination. And let us not forget the outstanding production design, sound design/mixing, cinematography and music that echoed and reflected the glamour of 30s Hollywood. Mank will undoubtedly be nominated for an avalanche of Oscars. 

Mank was not only about the making of Citizen Kane, but it was also about the machinations of Hollywood. The hypocrisy and the duplicity that churned the machinery and powered the political will of the Hollywood elite. What a brilliant piece of ironic self-obsession Fincher has created.

Almost everything about this film was finely tailored to reflect the era in which it was set in. From Fincher's direction and multiple homage to Citizen Kane itself and the filming style of the 30s, to the purposeful use of mono audio and authentically degraded visual, and Trent Reznor and Atticus Ross period-appropriate - and fabulous - score. 

This was thoughtful and sincere film-making.

At 131 minutes, Fincher meticulously paced the film such that it never felt long. The interweaving of timelines - an echo of Citizen Kane itself - was never confusing. Instead, it held the attention of the audience as we followed through the narrative and was constantly delighted by what came next.

The cast definitely played a huge role in ensuring this film's success. And kudos to Fincher for eliciting on-point performances from everybody. 

Lily Collins proved she is much more than just Emily in Paris. Charles Dance commanded the screen, as always. Tom Pelphrey had an old-school, Cary Grant-esque charisma to him. Tuppence Middleton, playing against type, was convincing as Sara. Oh Poor Sara. Other standouts included Ferdinand Kingsley, Toby Leonard Moore, Arliss Howard, Tom Burke, Joseph Cross and Jamie McShane.

However, the brightest stars were Oldman and Seyfried.

Seyfried was magnetic. She inhabited Marion Davis and gave a fully lived-in performance. She exuded a fierce intelligence coupled with a disarming beauty. Her scenes, especially those with Oldman's Mankiewicz, were the highlights of the film. They had an effortless chemistry that did not involved sexuality or sensuality. As Poor Sara said, a "platonic affair". 

Oldman is surely going to get another Oscar nomination but looks like he might face a tough competition from Chadwick Boseman for Ma Rainey's and Anthony Hopkins for The Father. Nonetheless, Oldman, although quite a bit older than Mankiewicz, was entirely captivating. He was in almost every scene and almost always remained the center of attention. His meticulous performance brought on both unfeigned authenticity and genuine emotions may it be laughter, love or sentimentality. His chemistry with all his female co-stars, mainly Collins, Middleton, and most of all Seyfried, was a clear highlight in this fascinating examination of an alcoholic genius. 

Cinematographer Erik Messerschmidt did a remarkable job in recreating the sight and feel of the 30s. There were some truly beautiful shots of lights and shadows in the grainy reproduction of the era.

Reznor and Ross have outdid themselves. This was perhaps their best cinematic score since The Social Network. Entirely different from their other 2020 score for Soul, their sound here was an echo of the 30s. It carried the film and underscored the emotional complexity but was never manipulative or overbearing. It was evocative and expressive without being wild or ferocious.

Netflix again has a a clear winner here. It got to be an embarrassment of riches for them this year with both Mank and Ma Rainey's which will both surely dominate the Oscar race. Perhaps Mank and Fincher could do what Roma and Alfonso Cuarón could not.

Soul

 

This was easily a top-tier Pixar production and their best film since 2015's Inside Out. A clear four-quadrant crowd pleaser, Soul - co-directed and co-written by Pete Doctor and Mike Jones - was absolutely entertaining throughout it 106 minutes run time. Its conceit and themes of Nature vs Nuture, Passion and Purpose, living vs Living were simple enough for the children to grasp but yet complex enough for adults to ruminate about. As with most Pixar stories, the conclusion is always inevitable, but the joy - especially in their best films - was the journey in getting there. In this case, the journey was gorgeously animated (as one would expect from Pixar) and well written. It was littered with witticisms and one-liners and supported by an amazing voice cast like  Jamie Foxx, Tina Fey (gosh, she can have an annoying middle-aged, white woman voice! lol), Angela Basset (what a voice!), Phylicia Rashed, Richard Ayoade, Alice Braga, Rachel House, Graham Norton (effortlessly bringing the laughs) and Questlove.  And on top of all that, it was also beautifully scored by Trent Reznor and Atticus Ross, with jazz arrangements and songs by Jon Baptiste. It was outstanding.

There was a clear Three-Acts structure to the story, and admittedly the second act felt a tad too dragged out and much more child-friendly than the first and last acts. However, Doctor and Jones managed to imbue a certain sense of childlike curiosity and discovery that helped to bring the older audience to hopefully re-connect with their youth. There was a certain amount of joie de vivre in seeing our two leads navigate through this Second Act. It also helped that Foxx and Fey had great chemistry together. Their often rapid-fire repartee helped to easily establish their characters and the central conflict, and made them easy to root for to succeed in whatever they aimed to do.  

Then of course, like most classic Pixar Third Acts, the emotional manipulation gets maximised, but only in this case it never really hit the full blast previously seen in Toy Story, Wall-E, Inside Out or even Coco. The tear ducts were opened and the amygdala was primed, but the waterworks never flowed. There might have been some moisture but no outright tissue-dabbing, nose-sniffling waterworks.

Thankfully, we still had the laughs. A few good genuine LOL-moments but lots of light-hearted sniggering and chuckles.

Reznor and Ross' score was beautiful (although nothing compared to what they did in Mank). But Baptiste's jazz was exciting and the song over the end-credits, It's All Right, a duet between Baptiste and Celeste definitely has a chance for a Best Song Oscar nomination. 

Soul was simply a feel-good film for the whole family. It invited you into its world and at the end brightened up your day just a little more than before you entered. And perhaps - hopefully - manages to highlight to you a thing or two about living. 

Stay to the end for a short - unrelated - end-credits easter egg.

 

Ma Rainey's Black Bottom

 

A powerful film propelled by the electrifying and charismatic performances of its two leads, Viola Davis and Chadwick Boseman, and the whip-smart, crackling and piercing dialogue of August Wilson. Beautifully directed by George C. Wolfe and adapted by Ruben Santiago-Hudson, Ma Rainey's felt simultaneously like the play it was based on and also a cinematic meditation on the themes of Race, Religion and Art.  Davis was transformative and utterly mesmerising as the eponymous Ma Rainey, bringing along with her an indisputable charm, authority, world-weariness, glamour and sexiness. She effortlessly magnetises your gaze and attention whenever she was on the screen although, granted, the bulk of the screen time belonged to Boseman. And Boseman - stolen from us too soon - did not disappoint. He was a possessed soul, invigorating and alluring, commanding the screen as he let loose Wilson's indomitable words. His cockiness, vulnerability, pride, lust, despair and fear were all out there, palpable and relatable. Kudos too to the supporting cast who played the rest of the band members, Glynn Turman, Colman Domingo and Michael Potts. Their chemistry was excellent. But the film truly belonged to Davis and Boseman.

Wolfe direction was wonderful. He aptly translated the play to the screen. Scene changes felt natural and the staging cinematic. Yes, although sometimes it did feel like four guys in a room, but the cast's chemistry and Wolfe's constantly moving camera on one-take made it feel like you were in the room with them. An audience or a fly. Or possibly God? Looking in, a silent observer. Wolfe and cinematographer Tobias A. Schliessler filmed it all with a visceral sensation of the oppressing heat and the undeniable racism that permeated throughout the 1920s. The only misstep was perhaps that epilogue. We all knew the truth, so was it necessary to show it? That kind of diminished the power of the penultimate scene.

Davis was brilliant and a definite shoo-in for a Best Actress nomination. Although she will most likely be handicapped by the fact her Ma Rainey felt almost like a supporting character in a play/film that carried her name. Nonetheless, Davis was powerful. She had a presence and a strength that seeped through just like the sweat that coated Ma's gleaming body. She understood the truth of her power, a Black entertainer in a white world, and by golly she was bloody well going to use it to get everything she deserved. Davis, with just a look and a shift in her shoulders, embodied all that. A finely tuned, nuanced performance that again proved Davis is at the top of her game!

Boseman, on the other hand, had the much showier role and he went all in on it. This was no Black Panther but boy did Boseman slinked about like a panther. This was Boseman's finest performance and outshone everything else he had done. Perhaps his untimely death may have coloured the expectations, but I do not think so. Objectively, Boseman fueled his character with an undeniable live-wire energy that was infectious and passionate. He imbued humanity to a complex character that could have otherwise been two-dimensional and stereotypical. Now, if only we had more scenes of him and Davis locking horns!

Jazz musician Branford Marsalis scored the film and the jazzy blues provided the soul of the film. 

Netflix scored another hit with Ma Rainey. A sure-fire Oscar-nominated film that rivalled the previous Wilson adaptation Fences. Davis and Boseman deserved all the accolades they have, and will be, receiving.

Wonder Woman 1984 (WW84) [IMAX]

 

WW84 was an enjoyable and (mostly) bright distraction albeit one that ran just a tad too long and was also not very well written or structured. You would think that at 151 minutes, director and co-writer Patty Jenkins would have given Diana Prince more layers, but instead the film was mostly filled with unnecessary padding and lazy narrative storytelling that lacked finesse or nuance. Logic be damned! Although granted, the padding did at least made the supporting characters a bit more interesting. Which, unfortunately for Gal Gadot, meant that the trifecta of Chris Pine, Kristen Wigg and a scene-stealing, utterly hammy and campy, Mando...ummm...Pedro Pascal stole the show from Gadot. 

And...do not get me started on the shockingly bad CGI, unexciting action sequences (where are all the hand-to-hand combat? Somebody please ban the lasso of contrivance from any more future appearances. Also, get  Zack Synder away from enforcing his aesthetics into the franchise!), and Hans Zimmer terribly on the nose musical cues (Jenkins got to share the blame on this blatant emotional manipulation, i.e. here is how you should be feeling). 

Most egregiously, just like in the first film, for all their supposedly feminist leanings, Jenkins and Gadot yet again failed to fully embrace and present feminism, resulting in a film, and a superhero, that was clearly catered to the biggest audience group, i.e. the 12 to 50 year old males. Again, Wonder Woman - and Diana Prince - was defined by a man, Steve Trevor, and again he had to be the one that "allowed" her to save the world. Please let it be Jenkin's co-writers' and the studio's fault, but then again, even so, where were hers or Gadot's voice in sounding out against such writing/plotting.

There were some good moments throughout the film. Some genuine moments of real emotion but those were mainly during the smaller and more intimate scenes which Jenkins' excelled in. However, when it came to the action sequences, Jenkins' direction lacked the visceral excitement and palpable adrenaline to drive these scenes. It definitely did not help that the big climatic fight between Wonder Woman and Cheetah was obviously Synder-fied. All dark and shadowy, heavy on the contrast and the CGI. Flashbacks to all those horrendous Man of Steel and Superman v Batman sequences.

The 80s aesthetics was a hoot and even the cinematography reflected that. It was heavily featured in the beginning but was not consistent throughout the film which was a shame. That could have been so much fun. 

The writing itself was also no shining star but it was very likely that the so-so writing was saved by the actors. Wigg nailed her lines and Pascal just absolutely went with all the hamminess that his character deserved. And Pine had great physical comedy and aced his reaction shots. There were some glimmers of humour sprinkled around but nothing that elicited genuine laugh out loud moments. On the other hand, there were a couple of cringeworthy scenes that nobody could really save. 

Gadot remained a great casting choice. She has the poise of Diana Prince and the physicality of an Amazonian. However, her acting has not improved much and it was sadly apparent when her co-stars constantly steal the show from her.

Wigg was a delight from the moment she showed up and her transformation was interesting to observe. Although her final form was a let down - and again I blame Synder. They should have reimagined her away from the original source material. 

Pascal's overacting was what saved his character from being just another villain. He gamely embraced all the campiness and just hammed it up. Even as cliched as his "redemption" was, Pascal still tried his darnest to sell his character.

Pine's character should have stayed dead. Although his revival did make sense and his chemistry with Gadot was still present and at least we got a good time travelling, fish-out-of-the-water acting from Pine.

WW84 was a better film than Tenet to try to reinvigorate the theatre-going experience. It was a good summer (now winter) popcorn blockbuster that did not aim high and so easily delivered the expected results. IMAX as usual was fun to watch but not really necessary. Stay for the mid-credits scene which may or may not be relevant to the inevitable next chapter (will it be staged before of after Justice League?).

First Cow [SGIFF2020]

Kelly Reichardt directed and co-wrote First Cow, a surprisingly entertaining frontier Western based on an unlikely story idea that was simply and effective told. It was a story about friendship and hardship, and about survival and dreams. It never felt as long as its 121 minutes run time suggested as Reichardt's storytelling and pacing was precise, and its two leads, John Magaro and Orion Lee, were captivating. Especially Magaro who turned in a soulful and sensitive performance. Together, all three of them delivered an emotional heartfelt tale chronicling the American Dream. And by golly, that cow is pretty.

Reichardt's film started off by introducing the leads to us and to each other with very little exposition but mostly establishing their character through actions, behaviour and snippets of backstory. Her way of storytelling respects the audience with nary a moment of dumbed down expository rife in contemporary Hollywood blockbusters. As the kids say these day, IYKYK. 

The film ran through a gamut of emotions as it followed the two men as they eked out a living and chased their dreams. We experienced their anxieties and fears, and their hopes and delights. And through it all, Reichardt sprinkled the film with a light dusting of humour just to keep it all from being too bleak and dour. The frontier life was not always the brightest of places to be. 

Magaro, at times looking like Shia Labeouf, was a standout with his portrayal of an atypical frontier man. He was a protagonist that we were rooting for to succeed and hoping that the prologue did not foreshadow his fate. And therein also laid the strength of Reichardt's storytelling whereby she daftly maneuvered - manipulated? - us to consider what that enigmatic prologue could have meant. Furthermore, that fade-to-black ending with no definite resolution may not necessarily be as bleak as it seemed but could also be viewed as hopeful and optimistic.

First Cow was an unexpectedly original film that defied initial expectations. It was superbly directed by a confident storyteller and anchored by two interesting and charismatic leads resulting in a wholly entertaining and captivating adventure. 

Wife of a Spy (スパイの妻) [SGIFF2020]

This was a beautifully shot, slow-burn of a historical/romance crime thriller. Director Kiyoshi Kurosawa (黒沢 清) took his time to get into the story proper, using most of the first act to set the scene - gorgeous period setting showcasing Japan in the 40s - and establishing the main characters. Lead actors Yu Aoi (蒼井 優) and Issey Takahashi (高橋 一生) held court throughout the near-two hours stretch, especially with the former who had the most complete and tumultuous character arc. It is not common to see a Japanese film that openly criticised Japan's role during World War II and Kurosawa had done it so effortlessly while also daftly saving both an espionage thriller and love-triangle subplots. 

The plot really kicked into gear at the second act and surprisingly gave a left turn at the third act that led to an enigmatic and emotionally poignant denouement. Although the end credits did suggest this was a true story, but we cannot seem to be sure. 

Like a lot of Japanese dramas, the acting can be rather overly-dramatic at times. However, in this case, Kurosawa seemed to have found a great balance of Hitchcockian suspense with a Lynchian mystery and therefore, Aoi's reactions never really seemed out of place. Although the same cannot be said for the other supporting characters. 

Aoi was amazing to watch. Her transformations through the film from dutiful wife, childish compatriot, indignant lover, amateur sleuth, duplicitous femme fatale, spurned partner, fragile patient and criminal mastermind was a delight to observe. In the end, Kurosawa and Aoi presented an enigmatic and ambiguous epilogue that allowed for multiple possible interpretations.

A Silver Lion winner at the 77th Berlin International Film Festival, A Wife of a Spy was a beautiful period drama that paid dividends for its patient audience. 

The Truffle Hunters [SGIFF2020]

 A quaint and charming little Italian documentary that was beautifully shot and languidly presented as we followed the lives of these mostly eccentric, sometimes curmudgeon, Italian old men as they waxed - and sang - lyrically or sometimes frustratingly about their livelihood and passion of being a tartufaio. But most importantly, also about their dogs. Which then begged the question, who or what are the titular truffle hunters - the men or the dogs? Or is it the consumer?

There was some education within the documentary on the shady business of truffle-trading but it was rudimentary and obviously not within the primary scope of the film makers. It will help to set the background for those who came into the film with nary an idea of what the heck is the deal with truffles. It also gave the audience a pseudo-villain, a cad really, in the main truffle dealer, to root against. Thereby giving this otherwise immersive documentary a sort of narrative structure which may be easier to follow/accept.  

However, for those already attuned to the illicit economy behind that white gold, then the real gem of the storytelling is the glimpse into the lives of the truffle hunters. Unfortunately, therein also laid the main critique of this docu. We only get a glimpse into the current lives of these fascinating men with occasional reflections to the past. But what we did not get is an insight into their lives, histories, impetus and drive. 

Visually, this film was beautiful. A lot of stunning wide-angled landscapes through the seasons interspersed with elegantly composed shots that often suggested playfulness and intimacy, or hinted at dodgy shadiness. There was also a fantastic use of a "dog cam" - a GoPro? - that provided one of the best visual sequences so apt for this film. 

The Truffle Hunters was an enjoyable and utterly charming film. You will be fascinated by these men and grown attached to their dogs by the end of  its 84 minutes. Kudos to the film makers who managed to get these men to be so open and inviting. What an invaluable opportunity to be allowed into these men's lives. Meanwhile, you may also learn a thing or two about truffles. 

Ammonite [SGIFF 2020]

 

Francis Lee's follow-up to his underrated gem God's Own Country was not exactly a sophomore slump, but where the latter had humour,  passion and "wore its heart on its sleeve",  Ammonite was cold, frigid and devoid of much levity. There were moments of tenderness and one scene of genuine warmth and love, but it was too little and too brief to ignite the flames - or even the loins. The crux was the lack of chemistry between its two leads, Kate Winslet and Saoirse Ronan. It was difficult to envisage them as lovers. 

Winslet was great, as usual, giving much weight and meaning to each glance, pinched lips and drag of her cigarette (she really ought to be in a Wong Kar Wai film), and that was extremely useful in Lee's sparse script. Her character was sort of an enigma but not difficult to relate to. An introverted yet sensitive person who dislikes social engagements and outward expressions of emotions, but is deeply passionate and empathetic.  Such characters would be described as stoic or reserved if they were a man, but as a woman, she would be termed frigid or cold or emotionless. And that was the brilliance of Lee and Winslet's creation. But I am not sure how many people will really see it as that. Winslet portrayed her with layers of complexity and she was fascinating to watch and follow.

Ronan, on the other hand, was given less to do, and we know she is capable of doing so much more! But unfortunately, those four Oscar nominations did not translate to her being convincingly enthralled - or besotted - with Winslet. Her character lacked dimensions and she seemed to exist only to drive the plot the forward rather than as a co-lead in a romance drama. Perhaps, this film may have worked better had another actress been cast as Ronan's character and Lee given her more of agency than just a young neglected wife who suffered a personal tragedy. 

There were also other problems other than the casting. Mainly, Lee's screenplay. This was a lot clunkier than God's Own Country and the paucity of dialogue did not disguise the many cringe-worthy lines spilling out of the characters' lips. The best bits actually seemed to be Winslet's improv-ed utterances. Surely not all serious period pieces need to be so muted and so glum. Thankfully, Winslet was able to translate and transcend those silences with a crinkling of her eyes or a slight twinge of the corners of her lips. 

And we also have the directing. By gosh, Lee really lacked subtlety here what with all the heavy handed foreshadowing and dramatic ironies. One could appreciate the cold dreariness of the Dorset coast without having to be constantly enveloped and suffocated by it? And surely, there must be warm blood flowing through Winslet's stone-cold heart. 

That being said, the cinematography by Stephane Fontaine - for all the directorial choices - was beautiful. Music was sparse, and although beautiful was used mainly to hammer in the emotional beats which felt manipulative. The costuming were gorgeous, but Ronan's wig less so. 

Lastly, we have to talk about that epilogue. That was too long. It could have ended just before that and it would have been great. 

(Mild Spoilers Ahead) Throughout the film, Lee had not hinted that the lovers could have had any chance beyond the plotted inevitability, and also, their lack of chemistry did not encourage the audience to actively root for them. Therefore, it could have ended just right before the epilogue and it would have been fitting. (End Spoilers)

But instead, we had to deal with an addition ten to fifteen minutes and three or four unnecessary scenes before the film actually ended. Although thankfully, the proper ending itself was a highlight of the film. That vague ambiguity ignited more passion than all the much-touted sex scenes. It also showed that those aforementioned unnecessary epilogue scenes were clearly there so that the characters, and the director, could S-P-E-L-L out exactly what they were supposed to be thinking/feeling. That felt like a studio note rather than an auteur choice.

Ammonite was a good film. It just was not a great film. It was enjoyable and Winslet was mesmerising. She might even get an Oscar nomination given how the year is going. However, it felt as cold as it looked and Lee could really have injected more warmth into it. Not all "serious" shows have to be brooding.

The Trial of the Chicago 7 [Netflix]

 The Trial of the Chicago 7 was, without a doubt, an Aaron Sorkin production. From its unabashed democratic and liberal-leaning politicking, its mile-a-minute monologues and abundant witticisms, to its social topicality and relevance, Sorkin used his platform to highlight a true story set in the 60s that - - unfortunately - still resonates now almost 50 years later. A painful reminder that despite half-a-century of time, not much in the world has changed. 

Sorkin had assembled a top notched cast but the ones who really stole the show were: Sacha Baron Cohen, Mark Rylance, Jeremy Strong and the fantastic Frank Langella. The others definitely held their own but these four really sold their characters and gave life to Sorkin's writing, and are a shoo-in, hopefully, for some Oscar acting noms. 

Sorkin as a director was unexciting. Although he would be the best person to understand all the beats of his own writing and the unconventional narrative structure did help to keep the audience, especially those who are unaware of this story, on their feet. Of course, undeniably, poetic license and dramatisation has to occur in any fictional retelling of a true story, but at least in this case, Sorkin did not appear to have done anything too far-fetched or histrionic. Well, maybe except inserting Eddie Redmayne's Tom Hayden into one too many scenes.

Redmayne and Cohen were undoubtedly the lead actors in this film, but other than both their confusing and inconsistent attempts at maintaining their American accent, Cohen definitely outshone Redmayne. Cohen daftly embodied Abbie Hoffman and Sorkin did seem to have more fun writing for his character, allowing Cohen/Hoffman to sometimes take on the role of a narrator which he did with aplomb. 

Redmayne, on the other hand, was suitably cast as the student president of the SDS. He consistently exuded a Newt Scamander-esque vibe with his schoolboy charm and scarves, but his Hayden was written too flatly and uninteresting to effectively put those charms too good use. And even a third act boost failed to make Redmayne/Hayden any more urgent or active.

Rylance was phenomenal. His every action and body language conveyed layers and so much more than Sorkin's words, which in itself would be a challenge to most actors. He was paired mostly with Ben Shankman and the two played well with and against each other.

However, the most interesting actor was Langella. What a villainous character his Judge Hoffman (no relation with Abbie Hoffman...hah!) was. Langella was a villain everybody loved to hate and he was delectable. Langella was a masterclass in using his eyes and words to terrorise and belittle. Horrifying!

Strong was believable as a stoner and he got some of the best one-liners. Well, he and Noah Robbins and Daniel Flaherty.

Other big names included Joseph Gordon-Levitt (miscast in a role that seemed to require more gravitas and ability to manifest personal and professional conflict), Yahya Abdul-Mateen II (great presence with one fantastic scene that screamed nomination reel!) and Michael Keaton (always welcomed and did his scenes justice). The rest of the cast, in roles big and small, were all suitably cast.

Given the storyline, it was not surprising that the film lacked female and LGBTQ representation. 

The music was by Daniel Pemberton, and like Sorkin's direction, was unexciting. It was rousing when it needed to be and subdued at times of contemplation. However, the collaboration with Celeste for "Hear My Voice" over the closing credits was great, and has a real shot of a Best Original Song nomination. 

Cinematography was by Phedon Papamichael and there were some beautiful shots, especially the last court scene. 

Speaking of which, that final scene was, kudos to Sorkin, a befitting, rousing, and heroic choice to end the story. 

This film, in this limited Oscar race, will likely get a nomination for Best Original Screenplay and hopefully some acting nominations. A pity we did not get a chance to watch it on the big screen.

I'm Thinking of Ending Things [Netflix]

 

The best film of the year...thus far. A surreal fantasy masquerading as a tense psychological thriller, this was a quintessential and unabashed Charlie Kaufman film. It was bitingly smart and uncompromisingly intelligent (unlike, say, Tenet) but yet darkly funny, oppressingly tense/creepy and peppered with unexpected poignancy. But most of all, it was anchored by terrific performances from its two leads - Jessie Buckley and Jesse Plemons - and the scene-stealing Toni Collette and David Thewlis. If Wild Rose did not convince you that Buckley is a star, her superb, chameleonic performance here will; and Plemons has been underrated long enough! This was not a film for the casual viewer. It demands attention and it will reward you at the end, and stays with you even longer.

It is always a privilege to be able to glimpse into the mind of Kaufman, and no one else would have been able to translate his screenplay (from the book by Iain Reid) as well as he could. Kaufman's directing and writing was in sync and so capably transported the audience into this world. 

Similarly, kudos to the production design team, the cinematographer, Łukasz Żal, who also worked on the equally sumptuous Cold War, and the music composer Jay Wedley. The whole team had created a brilliant visual landscape and aural soundscape that enveloped the viewer. The confusion, the unease, the sense of dread, the fear, the longing, the sadness, the lost, the happiness, the acceptance, all these and more were heightened and enriched by Kaufman and team. 

Saying anything more about the plot will ruin the film, but safe to say, it was similar yet different from its source material, and really only something that Kaufman could have imagined. This was truly Kaufman's best work since Eternal Sunshine of a Spotless mind sixteen years ago (and Being John Malkovich was 21 years ago!).

Buckley remained astounding and it was a crime she was not nominated for an Oscar for Wild Rose last year (at least she got a BAFTA nomination; her Oscar nom likely went to Cynthia Erivo and perhaps either Saoirse Ronan or Charlize Theron should have given up their spot...just saying). Nonetheless, Buckley turned in a fearless performance here all while spouting Kaufman's long monologues that ranged a multitude of topic. Her face was a canvas for the myriad emotions that her character had to go through and never once did it ring false. As ostensibly the audience surrogate, we tracked her journey through this one surreal evening and we felt what she felt. We were seldom ahead of her and that feeling could be very confusing. 

Plemons needs to be recognised by the mainstream audience and be rewarded for his consistently good performances in all mediums. In television, he broke out in Breaking Bad and was great in the second season of Fargo and the USS Callister episode of Black Mirror; and in films, he had multiple small yet pivotal roles in Vice, The Irishman, Bridge of Spies, The Post, amongst many other award-winning films. He is such an underrated actor and perhaps that is his charm. His character appeared unassuming but yet we see flickers of a multi-faceted, complex human being. The layers of complexity that Plemons brought to this role was amazing.

Collette and Thewlis made a perfect pair. They seemed to be having so much fun in their scenes especially Collette. They are fascinating to watch, and the dinner scene with all four of them was easily one of the best scene in the film. The effortless transition showed all of their mastery in the craft.

This was easily, hands down, one of the best films in a long time. A smart, uncompromising film that delivered. An Oscar nomination for Best Adapted Screenplay and Cinematography will be likely, but given its high brow nature and esoteric storytelling, anything more will be a surprise, albeit a very welcomed one.

This film absolutely deserved repeat viewing - like all good Kaufman's films - and what else is there to do under lockdown in these unprecedented times? Stay through the credits and read them for some nuggets and easter eggs.

Tenet [IMAX]

 

Expectations were high for this film given the immense success that was Dunkirk and how it was the first major blockbuster to hit the cinema since COVID struck. But Christopher Nolan's time-travelling, heist-flick, action-thriller failed to lived up to those expectations. 

Granted, the timey-wimey concept was interesting. However, the execution was tedious and predictable, and for fans familiar with the sci-fi genre or time-travel trope, it felt unexciting and rote. Nolan never delivered upon the promise of the first act and the film never got more exciting than the prologue. The clunky dialogue and heavy-handed monologuing did not help. 

And to add salt to the wound, this was perhaps Nolan's most emotionally hollow and contrived film. There was absolutely no emotional weight or purpose in this whole 150 minutes. Perhaps he should have leaned more into the bromance and banter between John David Washington and Robert Pattinson who had good chemistry together, and ditch the saviour-complex, with a hint of romance, between Washington and Elizabeth Debicki. 

Washington was a standout in his breakout film BlacKkKlansman, but here, although he managed to hold his own, he seemed overwhelmed by the story and never really shone through as an individual. He was charismatic at times but dull more often. He really did not appear like he was having fun.

Pattinson, on the other hand, seemed to be enjoying his role. Pattinson is a much better actor than most people give him credit for and his performance here proved that his Batman could be something worth anticipating. 

As for Debicki she deserved so much more. She tried her best but the script and the directing failed her. Her character was so shallowly written and her motivations so contrived that she was essentially nothing more than a pretty face face masquerading as a plot device. At least she and Kenneth Branagh played well opposite each other. More than what we can say for her chemistry withWashington. Ever since she broke out in The Night Manager and The Kettering Incident, she seemed to have been typecast, i.e. the tall, fragile-looking blonde that had inner strength that was yet to be discovered. Hopefully, as the next Princess Diana she can once again shin. 

Nolan really has no idea how to write for women. Which could explain why his films always have so little women in them. And if they are there, they are either tropes or used to subvert expectations, e.g. Dimple Kapadia in this film. There really was no reason why Washington's or Pattinson's characters could not have been female.

Tenet absolutely failed the Bechdel Test. Also, other than Washington, there was also no other BIPOC character of note throughout the film.

Nolan might have to learn a few things from his brother and sister-in-law, Jonathan Nolan and Lisa Joy, the duo behind the HBO series Westworld, or even James Cameron, and consider allowing his ideas to be turned into a mini-series or a multi-part film franchise. With more time and breathing space, and better writing, Tenet could have been so much better. The concept could have been more richly explored and the characters deepened and their complexities fleshed out. Look at the Netflix series Dark. Similar concept, so much more better executed over three seasons.

And Nolan should also consider having a co-writer to help write better dialogue rather than the clunky and clanky pesudo-science, pop-philosophy and oblique references that peppered throughout the film.

Having said all that, there were things to like about the film. The cinematography by Hoyte van Hoytema was excellent. The IMAX-shot sequences were great and the final climax - for all its messiness - was amazingly shot. The editing by Jennifer Lame who did Hereditary was top notch. And of course the score by Ludwig Goransson really helped to drive the film forward and through the dull patches. There is a chance that they could get some awards recognition in these three categories and also for Special Effects and Sound Design. 

Watching this film in IMAX was great, especially for the prologue and some of the action sequences like the final climax. And the sound system in an IMAX theatre really helped with the bass-heavy score. However, given the 2.5 hours film length and mediocrity of the film, that extra cost may not have been so worth it. But at least it was fun to be back in a cinema, only wished it had been better.

The Old Guard [Netflix]

A fairly engaging film by Gina Prince-Bythewood that mildly subverted the superhero film genre. It had great action, hand-on-hand sequences and a good performance by lead actress Charlize Theron. But at just over 2-hours long, the screenplay by Greg Rucka, who also wrote the original comic book this was based on, did tend to dawdle and the plotting and writing was inconsistent and occasionally clunky with many logic lapses and contrivances in the service of plot momentum and twists. The rest of the cast was also a mixed bag, with Luca Marinelli and Marwan Kenzari as standouts (even their characters tend to the steal the show), together with the brooding Matthias Schoenearts. Unfortunately, the two Black characters played by KiKi Layne and Chiwetel Ejiofor were uninteresting and underused respectively. 

Prince-Bythewood's directing was assured and for a first-time action and genre director, she competently executed the terrific open sequence that hooked the audience in and also the climatic big finale fight. Even the hand-on-hand fights, mainly showcasing Theron, were beautifully choreographed, kinetically energetic and believably deadly without the showy slow-mos that was all pretty but usually ridiculous.

On the dramatic front, Theron again shone with her authentic portrayal of an old immortal who has grown world weary and jaded. Similarly, the relationship between Marinelli and Kenzari was a highlight - it was highly refreshing to see queer superheroes in a relationship but not having that queerness highlighted. However, the origin story of Layne's newbie immortal lacked character depth and a sense of urgency. Layne was so good in If Beale Street Could Talk but her talents are kind of wasted here. 

As for the bad guys. they really were of the cupboard-variety, one-dimensional villainy with no ounce of redemption (at least Henry Melling seemed to be having fun, whereas Ejiofor appeared to struggle to give his character a believable purpose).

The music by Hauschka and Dustin O'Halloran was perhaps a bit too on the nose, with lots of #SadPiano and #PlaintiveCello, but otherwise it did help to move the story along. Although perhaps the soundtrack was more apt and memorable than the score. 

The powers-that-be clearly wants this to be a new franchise, and with Rucka already releasing a comic sequel to the first series and the mid-credits easter egg, it is highly likely and inevitable that we will get a franchise soon. Although hopefully the creative team will all be back and maybe hire a co-writer to help Rucka fine tune his screenplay.

Palm Springs [Hulu]

This was a genuinely funny (some great laugh out loud moments), light and frothy rom-com that would have been an excellent Summer escapist film. But now, as we are all more or less stuck in quarantine, this film has added a layer of ironic realism to its existentialism leanings. Thankfully, philosophy and quantum physics were not its priority, instead its focus was on the fantastic chemistry between its two lead - Andy Samberg (who was the right amount of cringiness here) and Cristin Milioti (she of the wide-eyed, not-so manic-pixie foil). 

Written by Andy Siara and Directed by Max Barbakow, this was a trim and unfussy 90 minutes film that held your attention from the beginning to the end. But to me, I wished it ended 2 minutes earlier, that would have been perfect. The epilogue and the mid-credits scene kinda lost a bit of the magic spelled by the preceding 88. Nonetheless, kudos to Barbakow for daftly balancing comedy, romance and existentialism without nary missing a beat. The tonal shifts from fun to dread to wonder to drama to contemplative to hopeful and back to fun again were done very well.

Samberg - reminiscence of Jesse Eisenberg from Zombieland - was a great casting choice. He has the earnesty and sincerity that made him relatable, and also a great timing for comedy (see Brooklyn Nine-Nine). Although, thankfully, Barbakow managed to rein him  an we barely had much slapstick schtick or cringey expressions of frat-humour.

Milioti was a great foil for Samberg, and her journey was a delight to follow. Her transformation through the stages of grief was extremely fun especially as she worked through her denial and anger before arriving at acceptance.

J.K. Simmons played a small but pivotal role and it is hard to see any other actor inhabit this role. Maybe Christopher Walken? Or Sir Ian McKellen? You get the type. 

My only real gripe was the ending. I wonder if the studios had anything to do with it or was it Siara's, or Barbakow's, plan all along. 

Another gripe will be the lack of representation in the film. We have the one token Black actor and the one token Asian guy. It was also a definite fail on the Bechdel Test. And the LGBTQ angle was played for laughs. Gotta work harder, Hollywood.

Nonetheless, this was a great 90 minutes escapism. It brought the laughs and the awwww-shucks, and could be a long shot for an Original Screenplay nomination.

An Affair to Remember [AppleTV]

This 1957 rom-com starred two great leads who had fantastic chemistry that helped to sell the slightly implausible, but utterly fairy-tale romantic, plot. The banter between Cary Grant and Deborah Kerr was excellent, especially in the first half when they were on the cruise. However, once they landed in NYC, the film felt a bit more maudlin and less interesting with the two stars apart. Individually, they were good actors but together, they were more electrifying and fun to watch. It was a pity that the film did not try to give them more individualism as we explored their private life. Nonetheless, this film remained a classic and the blueprint for many a modern rom-coms. It was funny and touching, a romantic fantasy escape for all generations. Simpler times with simpler stories.

Da 5 Bloods [Netflix]

This film is possibly the year's first clear major Oscar contender. I see it already vying for Best Picture, Best Director, Best Actor, Best Supporting Actor, Best Cinematography, Best Score and Best Original Screenplay. 

Spike Lee's latest film was a lot of everything. It was topical as it was entertaining; educational and yet thrilling. It had dramatic beats with worthy emotional payoffs, and also comedic moments that did not seem cheap. It had twists and turns and gunfights and bombs and laughs and tears. It was about brotherhood, and familial bonds; it was about secrets and guilt; it was about Black Lives Matter and the horrors of war. Perhaps the only thing that did not work was the shoehorning of a quasi-romance.

It was a long film, at 154 minutes, and with so many things on its plate, there were a number of discourses and the film definitely could have been more streamlined if Lee only stuck to the A-plot. But, the film was much richer because he did not and was much more interesting. The acting was also great all across the board with Delroy Lindo and Clarke Peters both being standouts, with Lindo being a potential Best Actor nominee. 

Lee co-wrote the screenplay and his influences and activism showed especially in the first act of the film. Although, undoubtedly, some Republicans and "President Bone Spurs"-supporters will be turned off by the political undertones. 

Lee's directing was superb and although the film was long, the pacing was great. It only lagged at a few moments, namely at the aforementioned romance (between Jonathan Majors and Melanie Thierry), which also highlighted Lee's weakness in writing female characters and authentic romances. This film definitely did not pass the Bechdel Test. And to be honest, the film did not require it, of if it did it should have been more all encompassing and included the females in all the characters' life which would have then made the movie even longer.

Lindo was fantastic in the lead role. From his first appearance as a MAGA-wearing, ex-GI to the film's closing moments, Lindo gave a captivating performance that felt rooted in plausibility. His was a complex character, holding on to so much emotional weight and trauma that it had begun to manifest itself outwardly and bled out into his physical behaviour. 

Peters was the other standout actor. He was the moral and emotional core of the story. A steady presence amidst the chaos, and a sympathetic audience surrogate. 

Other great supporting cast included Jean Reno in a great Trump-skewering role, Chadwick Boseman as the 5th Blood, and the always reliable Paul Walter Hauser in a bit role.

Newton Thomas Sigel's cinematography was outstanding. The different aspect ratios used for different parts of the films was innovative and clear. The shots were beautiful especially of the gorgeous Vietnamese landscapes and also the odes to Apocalypse Now and Good Morning, Vietnam.

The score was by Terence Blanchard who also scored Lee's previous film, BlacKkKlansman. It was a fittingly beautiful and resounding score that helped to underpin the dramatic and adventure beats of the film, On the other spectrum, Blanchard's score, together with the soulful voice of Marvin Gaye, also helped to weave a lovely emotional tapestry that lifted and supported when the film got serious and honest.

This film would have been fantastic on a large screen, but Netflix would surely allow Lee's film to reach a wider audience. And in this climate, the film's message deserved to reach as big an audience as possible. Da 5 Bloods is a serious contender - more so than Lee's previous BlacKkKsman - and hopefully it can keep its momentum all the way to April 2021. #BLM

The Vast of Night [Amazon]

A fun, thrilling, little indie sci-fi film from first time film director and writer Andrew Patterson. It is always amazing what some talented film makers can do and come up with on a small budget, and that really gives you a sense of what kind of talent they are and what they can possibly achieve. In this case, Patterson direction and storytelling were his stronger suits than his actual writing.

This was a talky, 50s-era film set like an episode on Twilight Zone, and although there was a lot of bantering and rapid-fire cross-talking between the two leads - played by Sierra McCormick and Jake Horowitz - the quality of the banter lacked the energy, adrenaline, punchiness and zing of the likes of Joss Whedon or Amy Sherman-Palladino. 

However, Patterson really shone with the directing. The tension was ratcheted up appropriately and maintained, and the mystery unfolded slowly and with enough creepiness and dread to be engaging. The limited budget possibly forced him to limit the number of shoots and edits so there were lots of one takes and long, tracking shots which were used effectively rather than gimmicky. Although, somewhere between Act 1 and Act 2, there was an exhilarating, long, racing, tracking shot that was superbly done and sure to be Patterson's calling card for the big leagues. 

Similarly, his cinematographer, M. I. Littin-Menz will be a name to watch out for in the future. His lensing of the film was gorgeous and effectively fit the atmospheric mood of the film. 

It is quite exciting to spot talent early on in their career.

Acting wise, McCormick and Horowitz had chemistry together, but neither of them broke out. However, to give them credit, they did hold the film together in the opening minutes and before the film kicked into high-gear. And to be honest, the script itself was more narrative-based rather than character-based, therefore they had not much to work with. In addition, Patterson's direction to McCormick seemed to require her to be more reactive rather than being; and with Horowitz, it was more channel Dana Scully's sensibilities with Fox Mulder's dryness. It was the camera work that helped sell the story rather than the characters. 

At at breezy 89 minutes, this was an easy film to watch. It could even feel like, in this day and age, an extended episode of Black Mirror or Twilight Zone. But what Patterson and his team had achieved from their limited resources was incredible, and it will be very exciting to see what else he will come up with next.

Bad Education [HBO]

Fantastic performances by Hugh Jackman and Allison Janney, who had superb onscreen chemistry, in this dramatisation of the largest public school embezzlement in American history. If this was a theatrical release, both Jackman and Janney will be definite shoo-ins for Best Actor and Best Supporting Actress nominees. 

The film, on the other hand, was weaker than its stars. As with most true-story retelling (and even adaptations of popular novels), the cinematic tension and conflict will have to come from within the narrative or the characters, given that the audience would most likely already be aware of the final outcome. And in this case, director Cory Finley and screenwriter Mike Makowsky were not able to find a hook to fully engage the audience for them to care. Sure, Jackman's character was the lead but we never really got inside his head except for a few fleeting moments that were more due to Jackman's abilities rather than the story itself. It was the same for Janney's case, who had slightly more histrionic scenes and sold it much better than the materials that was handed her. 

The pacing was appropriate but it never felt like the story had any emotional or dramatic beats. It was more a retelling of an event rather than a fictional dramatisation of one; the premise was interesting, but the execution was flat. Other than the writing for the two stars, the rest of the of the writing was alternating between clunky, heavy exposition, and cringeworthy cliched.

Jackman was stellar. He held the screen and story together through all the faults. It was a perfectly fine-tuned, nuanced performance and a certainly a career best for him. He was a sociopath that was equally smarmy, charming, deceitful, manipulative, loving, caring and passionate. It was possible to believe all that in his portrayal of Dr Frank Tassone. Most people just think of Jackman as another Marvel superhero or that guy from Les Miserables, but many also forgot that his Logan was one of the memorable incarnation of a superhero and that Jean Valjean gave him his only Best Actor Oscar nomination. Not only that, he also gave great performances in The Prestige, Prisoners and even Eddie the Eagle. However, come the Emmys, his biggest challenger for the Best Actor in a TV Movie/Limited Series will be fellow Marvel superhero, the green-man himself, Mark Ruffalo for a fellow HBO production, I Know This Much Is True (one of the most devastating, perpetually sad and inconceivably heavy series about life, lost, death, mistakes...and ultimately hope).

Janney was ostensibly the lead actress in this film, but really she was a supporting character to Jackman. The early scenes between these two actors were the highlights of the film and Janney's downward spiral was a sight to marvel. However, it is hard not to feel like we have seen all that from her already. From her multiple Emmy wins as CJ in The West Wing and her most recent Oscar-winning turn in I. Tonya, it is almost starting to feel like we want another breakthrough from this undeniably thespian, and for her not to get typecast into a particular sort of role. There is a good chance she will get nominated for an Emmy for this role, but winning it will be challenging as she will most likely be up against the phenomenal ladies of Mrs America (a superb series that was riveting and educational given its subject matter - the Equal Rights Amendment - and had a seriously stacked cast of actress who all brought their A-plus game; Cate Blanchett might just get the Best Actress in a TV Movie/Limited Series for her turn as Phyllis Schlafly). 

The other main supporting cast included Geraldine Viswanathan who felt out of her league acting against Jackman and Janney, Ray Romano giving a very Romano-esque performance, and Annaleigh Ashford who did the best she could with what she was given.

The score was by Michael Abels and it was quite memorable although might not be entirely fitting for the film as a lot of time it stood out distinctively rather than assimilating with the look and texture of the screen. 

It is debatable whether it was the right decision for HBO to acquire this film. Given the current climate, it seemed likely that it will reach a bigger audience than a theatrical release. However, its cast did have a good chance of Oscar nominations which could have given the film legs to carry it through Oscar seasons.  Nonetheless, at a trim 108 minutes, this film was an easy and entertaining watch buoyed by great performances from its two leads.

13th [Netflix]

Educate yourself. Educate your children. Educate the people around you.

Bracing. Harsh. Terrifying. Honest. Brutal. Unbelievable. Shocking. Disgusted. Disbelief. Informative. Educational. Hopeful. These are just a few of the many words that suitably described this 2016 documentary by Ava DuVernay. And now, 4 years later, it is still relevant. Chillingly relevant.

As the documentary's tagline highlighted, "From slave to criminal with one amendment" and DuVernay and her interviewees strived to illuminate how America has gotten itself to its current - albeit 2016, although still extremely relevant in 2020 - state. There was a lot of information here and DuVernay had presented them in a clear, but not always concise, chronological order featuring a rotating cast of talking heads. 

The information provided comes from both sides of the partisan benches but not necessarily from both sides of the argument. DuVernay did try to insert some counter-balance into the documentary, but it was apparent from the editing that she had proportioned less weightage to those interviews. This document was an educational tool that leaned heavily on her point-of-view, which undeniably was where my own politics laid, but there was no space given for counter-rhetorics.  Nonetheless, it effectively accomplished its role in a brisk 100 minutes, i.e. to educate. Anything longer than that might strain the attention span of the ignorants, the casually curious, the on-the-fencers and lose recruits to her side.

Do listen to what DuVarney's interviewees have to say. They are not your typical celebrity activists, but, as their titles suggest, smart and invested people who are passionate about what they are saying and what they believe in. Perhaps, the only true "celebrity" will be Angela Davis, an icon of the Civil Rights Movement.

Do also watch the 30 minutes, Netflix-produced Oprah Winfrey interview with DuVernay after the documentary. It was equally illuminating and reassuring, and may answer a few questions that you may have had whilst watching 13th. Although DuVernany's mildly-rehearsed answer to Oprah questioning her about the ending of the documentary did help me to understand why it was ended that way, albeit I am still not entirely convinced that it was the right ending. 

Educate. Learn. Be Better.

Westworld (1973)

Back in 1973, this must have been one scary premise and Yul Brynner was one menacing gunslinger. Comparisons with HBO's Westworld series will be inevitable. Season 1 of the series followed closely to the central plot of the film but Jonathan Nolan and Lisa Joy clearly also expanded and deepened the mythology. In the film, nothing was really explained and the robots/hosts revolted assumingly because of some "computer virus". It was not explicitly stated whether they had actually gained sentience. In the end, this film felt more like a sci-fi horror rather than a sci-fi thriller. But at just a quick 88 minutes, this film was an easy and entertaining watch. 

Michael Crichton screenplay was effectively simple although the same could be said of his dialogue. Perhaps then it was a smart choice to make Brynner's The Gunslinger silent. However, that also led to many clunky, exposition-heavy exchanges between James Brolin and Richard Benjamin, and also from Alan Oppenheimer's Chief Technician/Supervisor. 

On the other hand, Crichton the director seemed to be having more fun. There were quite a number of fun scenes and tense moments. That final showdown was exciting and scary and riveting. However, at the same time there were also a few moments of excessive indulgent and unchecked quirkiness that seemed out of place. Regardless, having Crichton as the director of his own work likely did enable him to translate his vision more accurately to the big screen. 

To be honest, the acting here weren't great but the casting for our three leads were on point. Brynner was sufficiently creepy and enigmatic; Broslin was the handsome, suave, rich guy who treats Westworld as his own personal theme park; and Benjamin was the awkward newcomer, the audience surrogate, who ushered us into this new paradigm.The rest of the cast were rather unremarkable and easily forgettable.

Other than inspiring the Westworld series, the legacy of this film also includes another huge franchise. Crichton's further developed his theme of a theme park turning dangerous due to a "central malfunction" and 17 years later gave birth to Jurassic Park the book and three years after that, Spielberg's blockbuster hit that terrified a whole new generation, Jurassic Park the movie.

Zombieland: Double Tap [Netflix]

Missed this when it was on the big screen but looks like I did not actually missed much. The chemistry between our foursome was still intact and remained the main draw of the film. However, this sequel lacked the ingenuity and irreverence that marked the first film. The final act was great and the final action sequence kicked ass, but it was the meandering journey to that point that dragged. 

The spirit of the franchise was maintained but in its search for a deeper meaning, director Ruben Fleischer and his team of writer resorted to cliches and recycled tropes that were neither exciting or engaging. If not for the excellent banter (and chemistry) between Jesse Eisenberger and Woody Harrelson, and Emma Stone's droll, dry delivery, a lot of the lines would not have worked. 

Rosario Dawon was a welcomed addition and Zoey Deutch was surprisingly effective despite being annoying. Luke Wilson and Thomas Middleditch were thankfully only deployed for a limited period of time before they ran out of their welcome. 

Thankfully, the film only ran 99 minutes and had a strong ending, but another film to make this a trilogy is not necessary although the ending sure did leave that door open.

Stay through the credits for a great (seriously, better than film itself) mid-credits scene and post-credits scene.