The Matrix Resurrections

This film was riding on the coat-tails of its nostalgia factor but unfortunately it came on after Spider-Man: No Way Home, which did a better job of fan-servicing and executing its moments. Other than the thrill of seeing Keanu Reeves and Carrie-Anne Moss reprised their iconic roles,  the choice to recast Agent Smith (Hugo Weaving) and Morpheus (Lawrence Fishburne) stood out and was a misstep, in particular given Spidey's successful inclusion of Tobey Maguire and Andrew Garfield. No fault of Jonathan Groff who exuded a cold, mercurial glean but lacked the wickedness and glee of Weaving, or Yahya Abdul Mateen II who appeared more like a playful, impish sidekick rather than the wise, matured mentor-turned-follower Fishburne.

It especially did not help that there were no spectacular set pieces,  no groundbreaking special effects or adrenaline-pumping action sequences. What it had instead was lots of self-referential meta commentary, call backs to the first trilogy and Keanu doing Keanu. 

However, the most egregious fault was that despite The Matrix Resurrections ostensibly being a love story between Neo and Trinity, their shared screen time was limited. The moments that they were on together, the chemistry between Reeves and Moss was undeniable and Lana Wachoskwi should really have leaned into that. Keeping them mostly apart diluted the emotional core of the film.

Although, thankfully, Wachowski had drastically cut down on the pseudo/pop philosophy. That mythology really bogged down the last two films. Although she spent way too much time hand-holding the audience with exposition-heavy scenes and tedious world-building that added nothing to the eventual storyline. 

It felt as if she had an idea for another trilogy but the powers-that-be were hedging their bets and she ended up needing to cram as much into one movie as possible without being able to tell a proper story.

The Wachowskis have big ideas and the television dramatised format really suits them a lot more. Speaking of which, it was refreshing to see their Sense8 actors - Max Riemelt, Brian J. Smith and Erendira Ibarra, back in action.

Although of the supporting cast playing humans, other than Jessica Henwick, the rest of them were unmemorable. Henwick served as the audience surrogate but her role was sometimes too on the nose. 

Then of the other actors playing machines/programs, Harris was a delightful new entrant and seemed to be having fun hamming it out. Although at times it was hard to tell if he was hamming it up a la Eddie Redmayne in the Wachowski's Jupiter Ascending, or if he was really taking his role too seriously. Then we have Priyanka Chopra Jonas who, though charismatic, was utterly unconvincing in her role. 

Cinematography were by Daniele Massaccesi and John Toll, and music were by Johnny Klimek and Tom Tykwer, and unfortunately both were unmemorable. There were some great shots of the machine-world and the climatic final battle had a cool score accompanying the action, but otherwise nothing else really stood out.

Ultimately, The Matrix Resurrections was a decent popcorn movie - entertaining, quite funny, quite exciting, but, again, just fell below the expectations of what one would expect from a Wachowski.

Spider-Man: No Way Home [IMAX]

 

What a show! What an utter fan-service! A tremendously entertaining and absolutely fun film that checked all the right boxes for fans. It was a rare occasion whereby the theatre I was in was filled with whoops, cheers and claps throughout the film. Literally. From the first Easter egg drop within the first ten minutes until the end of the post-credits stinger. This film, undoubtedly, did what no previous Phase 4 MCU films nor recent Star Wars film could, it energised the fans and made them excited for the future.

However, fan service can only carry you so far. The story itself was essentially silly and contrived and the film really needed all that fan servicing - in particular in the third act - to really sustain the nearly 2.5 hours run time. Nonetheless, director Jon Watts and writers Chris McKenna and Erik Sommers capably delivered a by-the-numbers, MCU/comics romp that had humour and drama, emotional weight and resonance, and pathos. The banter could have been better (ahhh..Joss Whedon is missed!) but at least our core trio of Tom Holland, Zendaya and Jacob Batalon had great chemistry together, and we were not over saddled with a romance story.

Surprisingly, and deservedly, we also had closures with regard to Sam Raimi's trilogy and Marc Webb's Amazing run. That was unexpected and nostalgic.

But in the end, the story itself was silly and contrived 

Most of the fights sequences were exciting but as per most superhero films, why do the big climatic ones almost always have to happen at night? This was actually one of the things that made Chloe Zhao's Eternals a standout. 

In the big end-battle sequence here, some of the action got a tad confusing although the highlight of it all (no spoilers) could have masked over that. But essentially, it was again, too much CGI and not as well lit as it could be to really follow the action. However, it was definitely fun.

Sometimes we forget that pre-MCU, Holland was a young actor on the cusps of greatness with Billy Elliot and The Impossible. Then he got sucked into the MCU and never really had much chance to deliver on his dramatic chops...until now. Cherry with the Russo brothers notwithstanding, Holland should really go back to his dramatic, indie roots. That said, his Peter Parker was earnest, honest and sincerely moral which really embodied his comic origins. Holland did good here.

Zendaya was definitely better here than she was in Dune and at least her chemistry with Holland was way more organic than what she had with Timothee Chalamet. Her character was more independent and had her own personality/urgency which was better than in the previous two instalments or as compared to Kirsten Dunst's and Emma Stone's characters in the past.

Batalon, again, was the comic relief side-kick. There seemed to be a suggestion for beefing up his role but I guess we will have to wait for the next trilogy to see if that was all foreshadowing or empty gas.

Benedict Cumberbatch was essentially just an extended cameo and power-ed down majorly to allow Spider-Man the spotlight. Doctor Strange is the Sorcerer Supreme, the film would be over in one act if he unleashed his full power (see: What If...?).

Marissa Tomei was surprisingly effective this time round. With a slightly beefier role that demanded more from her than just Peter's hot aunt. Her chemistry with Jon Favreau was also a highlight, albeit not as well explored as it could have been.

Don't think it will be much of a spoiler to add that Alfred Molina was deliciously hammy but his digital de-aging way too uncanny; Willem Dafoe was having a blast and it showed - possibly the best actor/villain of all the franchise; and James Franco was missed. 

Michael Giacchino's score for this Spidey franchise continued to be outstanding and Mauro Fiore's cinematography had some great moments.

Spider-Man: No Way Home continued Holland's streak as one of the most successful onscreen Spider-Man and kind of completes his high-school arc. The next trilogy, if it happens, should consider expanding yet also shrinking its scope on Peter's life either within the MCU or the SSU. 

Maybe Kevin Feige should consider making an MCU family drama next. Though that seemed to be what the Disney+ shows are aiming to do.

"But what is grief, if not love persevering?"

The French Dispatch

This film was as Wes Anderson as it got. All his distinctive style, intricate framing and composition, and quirks were on full display here. Unfortunately, in this case, it was style over substance. As gorgeously shot as the film was by Robert Yeoman, and as great as the score was by Alexandre Desplat, the anthology format just did not work for Anderson's vignettes of journalistic story-telling. The film lacked cohesion and was - for the most part - emotionally vacant; a series of Anderson's absurdist irreverence masquerading as human feelings and emotions. It would work well on paper as a collection of short stories/essays - think Haruki Murakami or David Sedaris - or even as an offbeat television mini-series in the vein of Room 104, but as a cinematic experience, its disjointedness, constant voice-over, and limited screen time for its actors, it ultimately depth and complexity, replacing human emotions and connections with superficial style and technical expertise.

However, there was still much to be admired in a new Wes Anderson film. He has one of the most distinctive visual style in modern American cinema now and his fans will have a field day dissecting the film frame-by-frame. It was meticulously shot and composed with each frame overfilling with Easter eggs, ennui and metaphors. This was a film maker that clearly knew how he wanted his films to look and feel and sound. 

It was just that I wished he could have reined it in somewhat.

The film started promising. An interesting concept and an idea with a great introduction starring a subdued Bill Murray that carried on to a quaint and funny prologue - travelogue - introducing the fictional city of Ennui-sur-Blase via Owen Wilson's deadpanned, acerbic narration.

Then we went into the first story proper, The Concrete Masterpiece, starring Benecio del Toro, Adrian Brody, Lea Seydoux and Tilda Swinton. Narrated by Swinton who was in essence acting alone and giving a long monologue. However, the editing meant that her role ultimately lacked impact. And her lack of screen time with other characters/actors was a wasted opportunity (recall: The Grand Budapest Hotel). Benicio del Toro was, on the other hand, a great addition to Anderson's roster of rotating ensemble. His face was made for an Anderson film - front and center, unique. Just like his co-star, repeat actor Brody, who has now found his rhythm in an Anderson film. The cadence of an Anderson dialogue, the maniacal energy paired with sudden periods of recessiveness, and eyes that just light up even a black and white screen. Seydoux was an excuse to use French and titillate. Her relationship with del Toro's character was part magical realism and part misogynistic fantasy-fulfilling that, again, looked good on paper - like a Murakami-dream girl - than on screen (this was no Drive My Car).

The second story was the biggest disappointment. Revisions to a Manifesto starred Frances McDormand, Timothee Chalamet and Lyna Khoudri. As meme-able as Chalamet's performance was, he is not really suited to play a Wes Anderson character. He was too pretty and his face undistinctive. Further, he lacked the maniacal energy to leap off the screen. Even actors who only appeared briefly a cameos like Christoph Waltz and Edward Norton (in the next story) made more of an impact in their brief seconds. Perhaps, Chalamet may be better off playing the straight man if Anderson was to reuse him. Then we have McDormand, another wasted talented actress, relegating to narrating, providing insights as snarks and snarks as observations. There was no chemistry between her and Chalamet, and her emotional void was mentioned but never explored. I would rather have the whole story about her and her failed dinner blind date with Waltz. Now, that would make an interesting article. Khoudri, played the Seydoux role here, and again, why did she have to have her breasts exposed? She was interesting at least but her role, again, was more an enigmatic love interest rather than a real person.

Finally we have the third story, The Private Dining Room of the Police Commissioner, which thankfully was the best of the lot. Anchored and narrated by Jeffrey Wright who was given so much more to do and react to/with/against than Swinton or McDormand. Further, his role was given the additional dimension of a (sympathetic) backstory. The use of animation - paired with one of Desplat's better scoring - coupled with over-the-top performances by Mathieu Almaric and Stephen Park, and standout cameos by Willem Dafoe, Edward Norton and Saoirse Ronan,  also made this instalment a highlight. Perhaps, the most distinguishing factor was the lack of a love interest. But then again was it because Wright's character was gay?

Yeoman's cinematography was gorgeous, though some of the black and white segments felt less distinctive which does lead one to wonder whether the film was initially shot in colour first. 

Desplat's score was a true standout and will likely score - hah! - him another Oscar nomination.

Speaking of which, I am not overtly optimistic about the film's Oscar chances. Other than Best Score, it seems a slightly longer shot for Best Original Screenplay and Best Cinematography. There might also be some hope for Best Costume Design and Best Hair and Makeup. 

The French Dispatch may not be Wes Anderson's best film, but his fans will surely embrace its whimsical nature and overlook the lack of compulsive and engrossing storytelling. Casual viewers may be initially charmed his style, but likely to soon grow bored of its superficiality.

Last Night in Soho

A typically stylish Edgar Wright film with all his sensibilities, quirks, needle drops and signature shots, but this time make it a Swinging 60s, noir-tinged, psychological horror thriller. Taking it as just that level, this film was an enjoyable ride - good scares, intriguing central mystery, albeit slightly predictable, and gorgeously shot, designed and produced. The film moved along at a clipped pace with efficient storytelling led by a fantastic Thomasin McKenzie and a strong, confident performance by Anya Taylor-Joy whose beauty and poise, for once, worked for her in this role. However, looking beyond those superficial thrills, Last Night in Soho lacked character depth and emotional resonance, and as a #MeToo tale, it lacked bite and urgency, paying only lip service to the #MeToo movement.

Wright films have always had a distinctive tone and voice which garnered him lots of fans but also tend to alienate some folks who find his shows just a bit too glib, too tongue-in-cheek and too stylised. Although, it is these same characteristics that draw in his fans. We see the script as witty and cheeky, dry and wry, with effective use of music to drive the scene, story and narrative - although sometime just a tad too on the nose, but Wright always seemed to be very well aware of that - and the style of film making almost always made his films fun to watch and excitingly different to experience.

McKenzie was brilliant. Ever since her breakout role in Leave No Trace, McKenzie had been a star-in-the-making and a young actress to watch out for. Jojo Rabbit further cemented her acting chops and this film just raise it up further. She has an endearing charisma coupled with an innocence that seemed natural but yet laced with a tinge of hardness and fearlessness. All of which were put into good use in this film as her character progressed from a naïve country girl to a haunted city gal.

Taylor-Joy, on the other hand, had always exuded beauty and allure. The Queen's Gambit had established her bona fides, but it seemed that she is running the risk of being typecast and this role, though playing to her strength, did little to help her expend her repertoire. Other than maybe she might do well in a musical next. Her role here was like a compressed version of Elizabeth Harmon - strong and confident, then depressed and self-loathing/doubting, and back to strength. But undoubtedly, Taylor-Joy has a magnetic presence that just draws your attention.

The last key player in this film was Chung Chung-hoon, the cinematographer. This whole film was sumptuous. One of Wright's most gorgeous film, reminiscent of noir-esque a Wong Kar Wai. No surprise then that Chung's filmography included Park Chan-Wook's Vengence Trilogy. The Handmaiden and Stoker. He is also the cinematographer for the upcoming Disney+ Obi-Wan Kenobi series which will be exciting.

Like Wright's previous films, music played an important role and he had curated an excellent soundtrack that really evoked the atmosphere and mood of the 60s. Composer Steven Price's score was also equally haunting and evocative. 

Also kudos to the Costume Design and Production Design team for a great job in recreating the 60s!

Last Night in Soho was a fun and entertaining little horror thriller bolstered by great performances and brilliant craftmenship, but thinking too hard into it revealed its flaws and superficiality.

L'événement (Happening) [SGIFF]

 

A spiritual cousin to Eliza Hittman's 2020 Never Rarely Sometimes Always but set in period, early 60s France, Audrey Divan's Golden Lion winner at this year's Venice International Film Festival's was a harrowing, and at times difficult, visceral and challenging, film to watch about a woman's right to her own body and reproductive health. Lead actress Anamaria Vartolomei was fantastic. Think Marion Cotillard meets Elizabeth Moss. She was intense and vulnerable, always seemed to be tittering on the brink of a breakdown but never really did just because of pure force of will.

Films like this and NRSA (which won the Silver Bear last year) are even more urgent now as we reflect on the current situation in the States with the new restrictive law in Texas and another challenge to Roe v Wade in the Supreme Court. It is purely disgusting that this is still even a thing now. It was no wonder Divan's sophomore work has been winning so much acclaim because it managed to elicit such strong responses from its audience. 

There was nothing new about the story and some would even say it was cliched - gifted young girl with the potential to excel in life especially during a time when women were just coming up, and also daring to explore her sexuality and sensuality, but suddenly laden - and punished - with an unwanted pregnancy that forced her to make difficult choices and presented her with obstacles to overcome. Will she in the end? 

Divan skillfully led us through this journey, effectively counting the weeks of pregnancy like a doomsday countdown as our protagonist's options dwindle and the end of her life as she knew it. Bearing in mind that single motherhood and adoption were still a far cry from acceptance back in the 60s. As time goes on, we increasingly felt her desperation as she gets more isolated - aiding and abetting an abortion was a crime then (sounds familiar now?) - and as she wind down a more self-destructive path.

However, Divan had not created a pushover, and this was a heroine that we were rooting for. And Vartolomei with her intelligent ferocity and emotional strength made her someone that we wanted more for. We feel her pain, her injustice and we want her to succeed.

Kudos to cinematographer Laurent Tangy for a camera work that made all that so visceral. This was especially so, together with Divan, in the film's most intimately, harrowing - almost body horror-esque - scenes. But because we were presented with a wholly female POV, the gaze was empathetic rather than speculative. 

This film was one of three films shortlisted by France for submission to the upcoming Oscars Best International Feature Film, ultimately losing out to Cannes' Palme d'Or winner Titane. Nonetheless, this film should be watched not only for its urgency and relevance, but also to appreciate Divan's film making and Vartolomei's star-making turn.

Petite Maman [SGIFF]

 

A lovely, touching and emotionally-dense film. Director and writer Celine Sciamma created a whole experience in just 72 minutes. A simple tale, succinct and precise with nary any fats, about family, being a child, being a mother/parent, growing up and friendship. It was also exquisitely and tenderly shot by Sciamma's Portrait of a Lady on Fire collaborator Claire Mathon and the rich autumnal shades, coupled with softly touched closed up of faces, gave an overall heartwarming and beautiful tone to the film.

Told mainly through the eyes of an eight-years old, Petite Maman maintained that point of view throughout. That matter-of-factness acceptance of the strange and fantastical, and the blunt opinions of how they feel and what should be the right thing to do. Sciamma's successfully put us in that position and allowed us to also feel like a child again. And you know she had succeeded when you too feel the children's simple joy and fun in making crepes and their awe and wonder in discovery and adventure.

Kudos to the young actresses, Josephine and Gabrielle Sanz, for encapsulating all that. Their innocence and their friendship (kinship) really anchored the film and allowed Sciamma to tell this story.

An unexpected follow-up to Portrait but yet maintained Scaimma's reputation as a film maker to watch out for. 

Memoria [SEA Premierre/SGIFF]

Apitchatpong Weerasethakul's newest Cannes Jury Prize-winning film was a lot like his previous films, slow and contemplative, but also deep and exploratory. However, it was also one of his more accessible films. Perhaps because of the language? A mix of English and Spanish, Apitchatpong's first non-Thai film. Or perhaps it was because of the enigmatic yet fully magnetic Tilda Swinton. 

Memoria was a film that mixed magical realism with mysticism and existentialism. It was a languidly paced and directed film that necessitated full attention to the long - sometimes mostly silent - takes to absorb the details that may - or may not - play a role in the ultimate appreciation of the film's purpose. 

This film deserved a re-watch just to better understand what exactly was happening.

The central plot itself was skeletal. The story that Apitchatpong and Swinton were telling was not dependent on traditional narrative and dramatic arcs and devices. It was about mood and atmosphere and feelings. There were definitely a lot of feelings. 

Scenes were long and cameras were mostly stationary which allowed Apitchatpong to fully enveloped his audience into the moment on screen. Also, the sound design and mixing were crucial in this film as we were fully immersed into the delicately crafted atmosphere of the scene. Sound was so important that we had a full 15 to 20 minutes long sequence all set in a sound lab with a sound engineer recreating the mysterious sound that opened the film.

That above-sequence may sound - lol - boring and technical on paper, but kudos to Swinton and Apitchatpong for truly making it engaging and fascinating. 

Swinton's performance was also crucial to the film. She, as usual, was magnetic and giving a full-bodied, lived-in performance that seemed so natural and yet so nuanced. Our eyes are always on her. The way she moved, how her shoulders sagged or head cocked, or how she spoke or laughed or paused. She carried the film in a way that would have been difficult for anybody else.

By the end of the film, you would - and hopefully should - have left the theatre with a sense of awe and maybe even a slight WTF just happened. And that is the beauty of cinema. To challenge, to question, to linger and to admire. 

Belle (竜とそばかすの姫)

I can see why this film had received a 14-minutes standing ovation during its out-of-competition premiere at Cannes this year. It really nailed the third act and landed a strong, emotional and emotionally-satisfying ending. A mashup of Ready Player One meets Beauty and the Beast, this was a modern, Japanese, anime retelling of a classic fairy tale complete with memorable songs, a stirring score, and gorgeous CGI and hand-drawn cinematography. 

Belle started out really strong with an engaging world-building and empathetic background exposition but it faltered in the Second Act where the emo teenage drama threatened to overtake the storyline and destroy any prior sense of character building. But thankfully, director/writer/co-producer Mamoru Hosada 細田 守 managed to salvage the situation, albeit slightly more bleakly than expected, and the climax paid off heaps - in terms of visual spectacle and emotional resonance. 

Tears were freely shed.

This was a film that was highly suitable for family viewing. There were actually many modern themes throughout that were made - and suitable - for family discussion with young ones/teens like internet bullying, online fame and self vs avatar. Then, there were the more classic exploration of familial loss, reclaiming one self, depression, humility, courage and sacrifice. 

There was even, if you read deep enough to it, a small jab at politics, the justice system and Western corruption.

Surprisingly, romantic love was just a small component of the story. And thankfully so, because whenever Hosada ventured into that realm, it was very clear he was out of his depth with regard to teenage girls' emotions. Those scenes actually bordered on annoying.

The highlights were the phenomenal songs and score through the film. Kudos to lead voice actor and singer Kaho Nakamura 中村 佳穂 and the music team of Taisei Iwasaki 岩崎 太整, Ludvig Forssell and Yuta Bandon 坂東 祐大. Coupled with superb character design and animation, the musical moments were outstanding. This would work so well as a musical, either as a movie or stage production.

Its Japanese title, literally The Dragon and Freckled Princess, may well have embodied the film than just simply Belle. Nonetheless, Belle may not have been as exciting as Demon Slayer: Mugen Train, or as epic and dreamlike as Spirited Away, nor as romantic and swoon worthy as Your Name, but it was beautiful and heartfelt and stayed with you after the end.

Passing [Netflix]

An interesting little film by actor-turned-director Rebecca Hall in her directorial debut. An intimate film about the internal conflicts of a woman as she crumbled under the weight of her own doubts, paranoia, societal-pressure and jealousy. Competently directed by Hall, albeit somewhat rote and predictable, the film was carried more by its leading ladies, a beautifully complex and nuanced Tessa Thompson and the blazingly illuminating and charismatic Ruth Negga. 

Hall, who also wrote the screenplay, presented the film like a stage play and that could be due to budgetary constraints - people stuck in a room/space, talking. At times it worked, the small imitate conversations allowing the viewers inside the characters; but sometimes, it felt cramped and as if the story could not breathe. Although, if we are being generous, that could have been a deliberate choice to echo Thompson's character increasing suffocation.

The film also tried to do a bit too much. Hall tried to juggle the relationships between the two women with commentary on racial inequality, societal injustice, gender disparity and the complexities of "passing", and most of the themes ended up being just lightly brushed across. Of course with a film titled Passing, one would expect that to be central, however after the first act, it kind of just lurked around in the background.

That was a fascinating slice of history that may not have been known to most people, and I would imagine that the story one could mine from it would be equally as rich and compelling. Although, granted, this film was adapted from a novel, and it would have required a female point of view to adequately bring the main characters to life. 

So, in the end, Passing was more a character study rather than a historical drama. 

Regardless, Thompson was outstanding. The little furtive glances and the slight twitching of the body helped to convey a portrait of a woman steadily losing control. Some moments may come off a bit strong - too "acting"-ly - but mostly Thompson glowed and carried the film.

Her co-lead, Negga, had the much flashier role and Negga fully utilised her innate charm and beauty to mesmorise and command her scenes. An overly dramatic character required an equally OTT performance, but Negga shrewdly never pushed it to the realms of caricature. And beneath all that shine and bluster, she imbued her character with a lingering sense of sadness, pity and sympathy.

At just slightly over 1.5 hours, Passing was an easy watch on Netflix. It will definitely be a shoo-in for the indie-awards, but for the big ones, Negga and Hall might be long shots for Best Supporting Actress and Best Adapted Screenplay nominations.

Eternals [IMAX]

Eternals was a wholly different kind of MCU movie. Chloe Zhao's first tentpole studio film had the arduous task of not only introducing a large new group of superheroes but also crafting and building a whole new MCU world and mythology (see: Guardians of the Galaxy for its introduction to space and Doctor Strange for its introduction to magic). 

Laden with so much expository need, Zhao, who also co-wrote the screenplay, chose to do it all by eschewing the MCU formula of an action/MacGuffin-led narrative, instead she stuck to her gun and kept Eternals mostly grounded to the emotional landscape of the characters (mostly, cause this was an MCU film after all). 

Zhao and cinematographer Ben Davis also maintained a lot of her visual style with gorgeous wide-angle and panoramic landscape shots during the magic hour, all those sumptuous sunsets and backlit silhouettes, natural blue hour lighting to underscore the drama and tension, and intimate close-ups of the actors' faces to allow the emotions to drive the story. Also, unlike previous MCU entries, Eternals actually had a great score, courtesy of Ramin Djwadi.

Eternals was, refreshingly, the closest the MCU has to an art film and it will surely turn off some, if not most of, their core fan base. Hopefully Kevin Feige remained devoted to Zhao and her team, and keep them on for the sequel. 

That was not to say that the film had no flaws. It was a tad overlong at 2.5 hours and the heavy exposition did weigh the middle act down. Kudos to the natural, non-CGI beauty captured by Zhao and Davis, but when the CGI was at the forefront it did seemed quite out of place. Our primary antagonists, the Deviants, seemed mostly amorphous and all blended together except, of course, for their leader, and the globe-trotting locales did have a sense of artifice about them.

As for the action sequences, there were quite a few of them and thankfully almost all were shot in the light with no annoying shadows and darkness to mask the action. However, although Zhao did an admirable job in filming these sequences - you could follow the action and knew what was happening - there were not enough big moments and kinetic energy through them.

Zhao may have an eye for beauty in terms of composing a landscape and emotional beats, but she lacked the vision for big spectacles.

Lastly, we have the problem of such a large primary cast, of which two were major A-listers, Angelina Jolie and Salma Hayek. As a result, it was inevitable that not everybody will get the same weightage in terms of screen time and storyline. 

Gemma Chan and Richard Madden were ostensibly the leads of the film and the way Zhao's camera captured their moments really helped to sell their era-spanning relationship which was slightly better than Chan and Madden's onscreen chemistry which seemed inconsistent (although narratively possible). 

Chan is a good actress. Her work on Humans was exceptional, but she may not be ready to an anchor such a big film. Perhaps, if Eternals was more typically MCU, she would have fit right in, but Zhao's direction and screenplay demanded a lot more emotional depth than what Chan could muster now.

And in this aspect, her co-stars outshone her. Madden, especially, was impressive. His internal conflict was well expressed and his big climatic scene/moment was surprisingly moving. Jolie and Hayak undoubtedly have chops and it showed, although Jolie tended to be inconsistent whilst Hayak was more subdued. 

The other acting highlights were actually the supporting cast. From the expressive Lauren Ridloff who packed more emotional punch in her brief scenes especially with the uniquely sardonic Barry Keoghan. Lia McHugh had sass - and style - to spare for someone so young. Kumail Nanjiani, Brian Tyree Henry and Don Lee brought the laughs with their quips but also a humanity that was lacking in the other superheroes (though Nanjiani did not really have to be so jacked-up).

Cinematographer Davis and composer Djwadi were great here. Davis' lensing with Zhao vision created many gorgeous vistas. Some might say, too many. However, it did sort of suit the mood that Zhao was aiming for. Similarly, Djwadi's score was one of the best MCU scores. Epic yet otherworldly, but also soft and tender with a clear Sersi and Ikaris theme.

IMAX was great, again for those beautiful moments, and really to encapsulate the galactic nature of the Celestials/Eternals. The sound system was put into great use for the climatic, big fight.

Two post-credits scenes as per usual. One mid-credits that seemed to pave the way for the sequel and one post-credits that may be leading into a separate movie or Disney+ series. 

Eternals was definitely not for everyone and definitely not for the rote marvel fanboy or general audience. There was room for improvement but overall it was a refreshing new view into the MCU that was satisfying and exciting.

The Card Counter

Featuring an intense and riveting performance by Oscar Isaac, The Card Counter was a slow-burn sorta-crime drama that used the guise of gambling and card counting to tell a Paul Schrader-esque morality tale of redemption and guilt. However, beneath its constant shroud of moral self-flagellation laid a sliver of hope. 

Tiffany Haddish and Tye Sheridan turned in arresting supporting roles, both tugging to bring that glimmer of hope to the surface. In particular, Isaac and Haddish's chemistry was natural and easy (perhaps not as electrifying as his with Jessica Chastain's in Scenes From a Marriage) which was a good counterpoint to the heaviness within Isaac's character. 

Sheridan, on the other hand, remained a cipher throughout much of the film and the deliberate greyness of his relationship with Isaac helped the film from being too clearcut and straightforward.

Isaac remained mesmerising throughout the film and Schrader smartly allowed the camera to linger on his visage for long takes as he shifts through different emotions in a scene. The way Isaac sagged his shoulders, slouched over, the hollowness of his eyes and distant staring all served to emphasised that this was a fellow weighed down with an immeasurable amount of pain and guilt. 

This was a character driven film, but what made it so engrossing, other than Isaac's performance, was Schrader's screenplay. Although we were exploring the inner turmoil of this man and slowly unpeeling his layers, through his interactions with others, we always had a sense of something worse is going to happen. But yet, Schrader, the director and writer, always teased us that perhaps it would not come to pass mand we may be in for a happy ending. That elusive hope always just peeking through the grey and hinting at the possibility of peace. 

Although, perhaps, we may not necessarily have needed so much voice-overs.

Nonetheless, in this way, despite its nearly two-hours runtime, The Card Counter was an engaging film as we unhurriedly moved along to the film's eventual inevitable conclusion. The film may likely make a few critics best-of-the-year lists, but for the Oscars, it most likely is a long shot for Best Actor, Best Supporting Actress and Best Original Screenplay nominations. 

Everybody's Talking About Jamie [Amazon Prime Video]

Everybody's Talking About Jamie was an earnest film-musical with a positive LGTBQIA+ message led by the equally earnest, screen-catching, fantastic newcomer Max Harwood, and filled with catchy songs (more in the beginning and the end), a great supporting cast (led by in the indomitable Richard E. Grant and Sarah Lancashire) and an attempt to subvert the high-school genre (not always so successful).

Directed by Jonathan Butterell and with a screenplay by Tom MacRae, both of whom directed and wrote the book/lyrics for the original West End production respectively, so there was definite familiarity with the subject, the film started off really strong with a great first act that seemed to have effectively transposed the stage musical to the big screen. The film remained the strongest when it focused on its titular character and his high school environs and struggles. However, it was the moments with the adults the stalled the easy flow of the story and led to a rather draggy (no pun intended) second act. Similarly, the flashbacks were a bit overdone and the paternal storyline slightly undercooked. 

That being said, Lancashire's solo was heart wrenching, especially as it was interposed with an equally painful montage, and the duet between Harwood and Lancashire was very cathartic with effective use up of closeups by Butterell.

Although the ending may seemed a tad rush and just too neat, nobody said it had to be realistic. This was a musical after all and like all good musicals, the ending was meant to make you feel good and tie everything up nicely. And of course with a big group song.

Harwood was sensational. A newcomer that boldly captured the earnestness, naiveté, pride and fears of Jamie, but yet also embodied the ballsy, strong, courageous and empowering drag queen within Jamie (name with held cos...*spoilers*).

Grant was a hoot and he seemed to having so much fun. Pity there were not more scenes with him. Lancashire was a great supportive mother whose love felt heartfelt and genuine. Sharon Horgan was the Ms Trunchbull of the film. She was funny with her stare downs and quips but maybe singing is not her forte. And we had the lovely Laruen Patel as the wise best friend who really ought to have more a storyline.

Jamie was the movie that The Prom which it could be. But, perhaps thankfully, without the marquee names adding baggaing and expectations, and a more competent director, ETBJ  had a chance to succeed where The Prom so spectacularly failed. 

CODA (Apple TV+)

What a crowd-pleaser and all round feel-good film! Possibly the best feel-good movie of the year. 

CODA, Child of Deaf Adults, was utterly familiar with absolutely predictable beats and well-trod tropes, but writer/director Sian Heder and her terrific cast nailed every single emotional blow, dramatic turn and comedic relief. Every. Single. Time. 

This was a coming-of-age story, an overcoming adversity story, a belonging to a community story, a story about family and its bond, and a story about self-discovery. I really do hope that this film stays in the award conversation this season as everybody ought to watch it. There were feels. There were tears. There were laughter between the tears. 

Heder's screenplay broke no new grounds nor did she attempt to redesign the wheel. Instead, she just made a damn fine wheel. The whole film was telegraphed from start to the end, but that never stopped it from being riveting, engaging and highly entertaining. Seriously, you could tell what the next scene was going to be or predict the steps it will take to get to the anticipated conclusion. However, and I cannot emphasise it enough, the journey was fantastic. Emotions were given over - on a platter - to be manipulated. And all because the cast was ace!

The film moved along at a clipped pace but we always had time to know the characters especially the central family. Lead actress, Emilia Jones, was a discovery and she will definitely one to keep an eye out of. She is reminiscent of a young Jessie Buckley in Wild Rose (another utterly underrated film). 

The rest of the family were played by deaf actors and they all had such wonderfully expressive and emotive faces that words were not necessary to convey their feelings.

Oscar winner Marlee Maitlin was a hoot as was her onscreen husband played by Troy Kotsur. Their relationship together was hilarious but it was their parental relationship with Jones that were the most touching. Lastly, we had the older brother played by Daniel Durant who had less to do but really struck it home with his emotional scenes.

Standout supporting actors included the abrasive but heart-of-gold music teacher as played by Eugenio Derbez; the supportive best friend, played by Amy Forsyth, who was also part of the family and there to provide the one-line zingers; and of course the romantic love interest (a grown up Ferdia Walsh-Peelo of Sing Street fame) who in a surprise and refreshing turn was only thinly sketched out - this was not his story.

CODA was such a great film to watch. It would have played so well with a full, proper theatrical release. I would watch it again in a heartbeat. It already got a few acting nominations in this years Gotham Awards, the first of the Award season. Let's hope it stays strong in the conversation!

The Last Duel

The first of two Ridley Scott Oscar-baiting contenders for the year, The Last Duel was a medieval soap about the nature of truth told in three parts, each from one of the protagonist's point of view, a device commonly - and more effectively - seen on television. Once translated to the big screen, the repetitive nature seldom elicited new insights and thus explained the 153 minutes run time.

The film was also keen to highlight its feminist leanings, but other than including Nicole Holofcener as a co-writer (to star screenwriters Matt Damon and Ben Affleck) who supposedly did the most work on Jodie Comer's section, it was surprisingly light on pushing the female voice and POV. And really, did we need to keep showing the rape, albeit with slight differences. Were there no other ways to depict the differences without showing the act itself?

That is what you get when you have an old, white, cis male trying to tell a story, mainly written by two white, cis (alpha) males of two men fighting each other over the supposed truth as laid out by the female. 

Even though there are three people involved in the truth/lie paradigm, the weightage was heavily disproportionate to the men. This was even more egregious when the Scott himself clearly stated in the film which version was the truth. The only silver linings were that Comer's scenes, again likely written mostly by Holofcener, had the best lines and most succinct commentary of a woman's status in medieval times.

That being said, Scott's directing was still at fine form. The film moved along mostly at a clipped pace except for certain repeated scenes, and the opening prologue and the finale climatic fight sequence were masterclasses in tension and excitement. In particular the latter, it was a nail-biting, edge of your seat, fight to the end with no clear distinction which side will win until the final moment. The music by Harry Gregson-Williams definitely helped things along. 

Scott and cinematographer Dariusz Wolski created a dreary - why was it mostly always wintry? - visual scape of medieval France that was beautiful in its desolation and sumptuous in its production design and recreation. As were the costume design and hair and makeup team. The technical details and under-the-line production were stellar.

One last surprise, was that Affleck was the best actor of the film. He was a scoundrel that the audience would loved to hate, and he absolutely relished in it. Possibly one of his finest performances ever.

Damon turned in a fine performance as a stoic knight who really was more in love with himself and more concerned of how he was viewed by others than being a husband. He was the personification of the privileged male ignorant to his own privileges and microagressions.

Adam Driver, next to be seen in another Scott vehicle The House of Gucci, made for a good villain with his smarmy good looks. However, his villainy seemed perfunctory and not deeply explored enough.

Comer is the most likely of the three leads to have a chance to score any sort of acting nominations. Although she was a co-lead, it would not be surprising if they opt to put her up for supporting actress. Nonetheless, Comer continued to showcase her talents in a decidedly non-flashy performance. More restrained and more nuanced than her male co-stars, Comer managed to both elicit sympathy and suspicion in a role that asked for both till the truth was known.

The Last Duel may sneak in a Best Adapted Screenplay Oscar just by virtue of its star screenwriters, It may also land some under-the-line nominations, but Best Actor/Actress, Director and Picture might be a very long shot.

Venom: Let There be Carnage

Venom: Let There be Carnage was a campy, rompy, B-Grade Marvel film that did not take itself too seriously. At a tight and lean 97 minutes, this Tom Hardy-fronted, Andy Serkis-directed, CGI-heavy spectacle was delightful, funny and very self-aware of its' anti-hero irreverence. It definitely worked too that the core cast  this time round was small (all four were Oscar-nominees!!) and everybody just seemed to be having fun and not taking themselves too seriously. 

Hardy gave an all-in, dedicated performance that daftly balanced physical comedy with outstanding voice work and - surprisingly - a  genuine, emotional undertone. He was, and remained, the highlight of this franchise. Good for him! Michelle Williams was surely here just to cash in the paycheck but at least she seemed to be at least having fun and was present in her few scenes. Woody Harrelson played a juiced-up, hyped-up, sociopath-to-the-10th-degree version of his Zombieland/Natural Born Killers character, and again, seemed to be having fun. Lastly, we had Naomie Harries getting to go a little psycho after her recent turn as the more straight-laced Moneypenny. 

The CGI here seemed a bit basic with nothing really groundbreaking, although when it was Venom vs Carnage the CGI-heavy fight was quite exciting. Although the showdown did come a bit later than expected, and the expectation weighed heavily on the narrative. 

Serkis' direction was straightforward and he and Hardy had good chemistry in exploring the comedic side of the Odd Couple relationship at the core. It was slightly reminiscent of Deadpool but without the violence and gore - very PG13 - which ironically kind of worked with Venom making it a seemingly, intelligent alien that had seen much of the universe, rather than a brutish, simple-minded, thug.

Music was by Oscar-nominated Marco Beltrami and cinematography was by Oscar-winning Robert Richardson. However, despite the pedigree, both aspects seemed rather pedestrian and perfunctory. There were a few gorgeous, well-framed, shots, and the score for the climatic battle was sufficiently exciting, but neither were highly memorable.

This was a really fun film to watch but ultimately felt like a filler to the bigger MCU. The mid-credits scene will surely garner more attention that the actual film itself although I am a bit apprehensive as to where it will lead. Nonetheless, am still looking forward to the next instalment. 

Portrait of a Lady on Fire (Portrait de la jeune fille en feu)

 

Finally caught this 2019 French masterpiece on the big screen and it was fantastic! Absolutely a Romantic Tragic masterpiece by Céline Sciamma. Gorgeously shot, complexly written in its simplicity and emotionally resonant acting from its two leads. Sciamma told a love story that was so simple yet expressed so much of the complexity of human nature and emotions. The truth and the authenticity within these 120 minutes were unvarnished and honest, which made it so unapologetic brutal, heart wrenching but yet touching and even just a tad hopeful. 

Sciamma's direction was simple and the female point of view - and gaze - throughout the whole film allowed the film to standout for its fresh take on perhaps a trite, stereotypical genre - the period, lesbian film. The stark contrast between this and Frances Lee Ammonite was obvious. Where Lee's was cold and brooding, with Kate Winslet and Saoirse Ronan seemingly falling in love, Sciamma's Portrait was that of a slow simmering flame that eventually reached a feverish boil until it flowed over and extinguished the flame in a burst of steam and sizzle. 

Sciamma's decision not to employ any music throughout the film was a risky move in the beginning. Although its reason was thematically clear, it did not pay off till almost the end of the second act. But, boy, did it pay off huge. That moment brought tears. It felt like a lifetime of emotions were culminated and released. Brilliant, brilliant sequence and scene. Then we had the final scene, scored to - of  course - Vivaldi's Summer (the relevance to the film was simple yet touching) that just wrecked the soul.

Just like how Vivaldi's Summer was a beautiful example of how Sciamma's screenplay echoed back and forth, there were also many other instances of call-backs throughout the film. Foreshadowing were used simply and not heavy handedly, and loose-ends tied up neatly but never contrived. Even the oft over-used metaphor of the Greek legend Orpheus and Eurydice was given a gentle new spin and reading, that haunted and hurt.

Kudos to Noémie Meriant and Adèle Haenel for bringing Sciamma's two leads to life. Other than Sciamma's thoughtful direction and brilliant screenplay, this film truly hinged on their performances. The gradual development of their relationship felt genuine and organic, and even then it felt honest. Sciamma captured their moments with an honesty that was breath-taking and that really anchored the film, providing it with an emotional weight that pulled the audience in and down and over.

Their story was Romantic and Tragic but yet personal. 

The cinematography by Claire Mathon was gorgeous. Sumptuously candlelit rooms contrasted with the harsh sunlight by the beach; luscious bonfires and tender fireplaces illuminated the scenes and the characters. Softening and hardening as when necessary.

Portrait of a Lady on Fire should have been in the running with Parasite for a slew of Oscars and it would have surely given it a run for its money. I would watched this again before Parasite and I adored Parasite.

The Green Knight

A gorgeous and superbly directed medieval fantasy by David Lowery that retold the classic Arthurian legend of Sir Gawain and the Green Knight in an elegantly allegorical and fantastical manner that was all moody and atmospheric, and heavy on the Judeo-Christian imageries and themes of Arthurian virtues of chivalry and honour, but without being excessively overhanded or preachy. Although its obtuse and indirect narrative, with long bouts of silence where Lowery allowed the visuals and score to breath and tell the story - very similar to his previous, equally outstanding and underrated, A Ghost Story - may turn off most viewers. However, for those who persist and allowed themselves to be immersed in the fable, the reward was an enriching and unique experience that we seldom get from Hollywood these days. This was an arthouse, indie film masquerading as a big budget, Hollywood fantasy epic.

Working together with frequent collaborators, cinematographer Andrew Droz Palermo and musician/composer Daniel Hart, Lowery created a sumptuous cinematic experience that began from his haunting opening prologue to the silent, fifteen-minutes long ending sequence. Every sequence of every stage of Gawain's quest/journey was laden with symbolism and meaning, from the choice of colours that saturate the screen, the framing and the lighting of moments, the deliberate set and costume designs that echoed through the film, this was a carefully planned and immaculately designed film. Even the soundscape was crafted to complement the narrative and heightened the mood. That final sequence was outstanding as the sound design and score took over and effortlessly manipulated our feelings and ratcheted up the mystery and tension.

This was a film that truly deserved multiple viewings.

Perhaps the only things that did not really work were the the choice of font to punctuate each chapter of the story and the CGI fox - it just stood out for its trickery even in a film filled with magic, mysticism and legends. That being said, the CGI used for the titular green knight was subtly riveting.

Dev Patel has always been on the cusps of a great breakout moment and his performance here will surely inch him nearer to greatness and recognition. It has been fourteen years since his debut in Slumdog Millionaire and we have seen his growth and maturity. Here, he was perfectly cast as a man that questioned his role and place in his society, young enough to be unsure of himself but old enough to fear that his chance for achievement has passed. We see his growth as he embarked on his quest. But we also saw his doubts and uncertainties. This was a multi-faceted portrayal by an actor who understood his character and was aptly able to convey all that to the screen.

The supporting cast were rounded up by the excellent Alicia Vikander, Sean Harris, Joel Edgerton, Sarita Choudhury, Ralph Ineson, Barry Keoghan, Erin Kellyman and Kate Dickie. They were all well-cast, with stalwarts like Choudhury, Dickie and Harris commanding their scenes, and upcomers Keoghan and Kellyman portending to more great things to come.

Stay for a surprise post-credits scene that will likely just add more mystery to the film's ending.

No Time to Die [IMAX]

What a send-off!! All the feels...brilliantly directed by Cary Joji Fukunaga, beautifully lensed by Linus Sandgren and effortlessly manipulated by Hans Zimmer's score. This final instalment of Daniel Craig's James Bond was a highly satisfying conclusion to his five-films arc. 

It had great action (as expected and of course adrenaline-pumping car-chase scenes, although there were no singular, big standout sequences) but it was also emotionally resonant and genuinely funny (in that typical dry, wry British way with glimpses of Fleabag, no doubt thanks to Phoebe Waller-Bridge's involvement). However, surprisingly, it was also the most sexless of all the James Bond films. The Bond Girls were still there, but this time round they all had distinct characters (Ana de Armas and Lashana Lynch) and agency (Léa Seydoux). 

Running at 163 minutes long, it was inevitable that the film had some moments of sagginess and bloat. Thankfully, Fukunaga managed to keep that to the minimum and the film actually moved along at a good pace. Although, some of the dramatic moments in the second act felt too heavy-handed and excessively melodramatic. That will of course lead to comparison with Sam Mendes' more intimate approach (a tad surprising given Fukunaga's calling card was the small, intimate drama Jane Eyre). Also, Fukunaga and his co-writers may have gone a bit too much with the foreshadowing and the repetitive drumming in of the theme of "time" and "death" - it is in the damn title already!

But what Fukunaga really excelled in was crafting mood and atmosphere. Seriously, that cold open was fantastic! Creepy, tense, unsettling and absolutely reeled you into the film. Just with that scene, I wished we had gotten Fukunaga's version of It. Then, we also had the boat scene, the foggy forest scene and the finale set piece.

As aforementioned, there were the usual action sequences in the film. Although nothing big and flashy like Mendes' Dia de Muertos sequence in Spectre or the Istabul train sequence in Skyfall. Nonetheless, they were still exciting enough and Fukunaga seemed to rely more on practical stunts and effects rather than CGI. The hand-to-hand combat moments were also exceptional. Fukunaga and Sandgren's camera changed and put us right in the fight. All gritty and messy, yet clearly choreographed and shot.

The biggest problem with this film - and the franchise as a whole - was the villain. Firstly, Rami Malek added nothing to the role. He played the villain as he would a disfigured Elliot from Mr. Robot, flat with an undeterminable accent. Secondly, his villainy had no reason. His craziness was unfounded. There was no motivation to his reason for world domination. This was an antagonist that we could not care for nor be bothered about. Sure, they did explain a bit of his backstory, but what about his mid-story and current story? Why is he so angry? Why is he so crazy? In the end, he was just a face and a figure for Bond to go after.

At least, we could still take comfort in our usual roster of supporting players/actors. Ralph Fiennes, Rory Kinnear, Naomie Harris and Ben Whishaw. Uniquely in this final instalment, Bond did not work alone much. Team MI6 was there to support him throughout his final mission. 

The Americans, Jeffrey Wright and Billy Magnussen were great too. The former gave a gravitas to the role of Felix Leiter, and the latter had a couple of standout moments.

Armas had a brief but memorable scene. I could see Waller-Bridge's fingerprints over much of that sequence. She would be interesting to do a spin-off of.

For all the hype, Lynch's new 00 agent was given a rather short shrift. After her introduction, she was relegated to giving exposition and it appeared that her addition to the film was more symbolic (even in that final fight sequence) than a substantive change of inclusivity.

Seydoux and Craig had good - but not great - chemistry and her character actually drove much of the story. Here was not a damsel in distress, but an almost-equal to Bond. Some progress at least.

Craig has been Bond for 15 - 16 years now. His Bond had evolved through this time and has helped to usher in a new era for the British spy. More modern, more sensitive and less misogynistic. Craig's Bond had always bordered on moody and broody, but in this instalment, he got to display more emotional range and depth. Although the calls for some sort of award recognition may be a tad overblown.

Zimmer's score was quintessentially Zimmer-esque. Exciting when it need to be, plaintive and emotional at other times. It accompanies the narrative, pushes and nudges it along and unabashedly used to manipulate - successfully - your emotions. But it will be his score for Dune that will get him an Oscar nomination. But who knows, he might get two.

Of course, Billie Ellish's theme song will also get a Best Original Song nod. It might even win too, following in Adele's and Sam Smith's footsteps.

Cinematography was by Sandgren who got an Oscar for his work in La La Land and may be poised to get another nomination for his gorgeous work here. Although we will see his work again later with Adam McKay's Don't Look Up.

No Time to Die was definitely a big-screen experience and IMAX was worth it for the few scenes that maximised the technology. Thankfully, it did not go straight to streaming. 

There was a post-credits placard of interest for those willing to sit through it all. 

Candyman

The updated Candyman was more a supernatural slasher-thriller rather than a straight up horror movie, or even a slasher flick. This was a direct sequel to the original 1992 film although foreknowledge was not required to enjoy it. Nia DeCosta, and her co-writers, smartly recapped the first film without bogging the narrative in exposition. In addition, the technique used - shadow-puppetry - was an effective device that linked to central theme of storytelling, urban legends and folklore. 

At a taut 91 minutes long, DeCosta's film was entertaining enough and delivered some tense moments and a few scares, with some well-staged kill scenes. Jordan Peele was a credited producer and co-writer and his DNA was evident throughout. Candyman - like most of Peele's projects - used the genre as a satirical mouthpiece. An of-the-moment film that mediated on Black history and racial justice, but in this case with a dose of Black folklore and generational trauma. 

DeCosta et al obviously also had too many ideas, but sadly not the canvas to adequately explore them. The film hinted at gender roles, gender inequality, familial trauma, etc, but most were only briefly hinted at or gleaned over without further resolution. Which then begged the question whether they should have even been mentioned at all or not, especially since on top of it all they had to tie this film in with the original 1992 for it all to really make sense.

Kudos to the two leads, Yahya Abdul-Mateen II and Teyonah Parris who were both fascinating to watch. The former as he explored his past and his identity, and the latter for not being a victim but a proactive agent of choice and change. Pity though that Parris could only really come into her own towards the end of the film.

Colman Domingo also stood out in a small but pivotal role.

Candyman was an entertaining film that felt like a pre-dessert rather than the main dessert. It lacked the depth of Peele's other films but at the same time it never took itself too seriously. Although, having now seen DeCosta's work, it will be interesting to watch her next team-up with Parris in the MCU's The Marvels.

Dune [IMAX]

First of all, Dune was a highly impressive film and the craftmanship was all-round outstanding. It should definitely be watched on a big screen and in IMAX if possible because the production value was astounding. It was gorgeously shot by Greig Fraser, the score by Hans Zimmer was peak-Zimmer, production design by Patrice Vermette was superb and the team of Costume Design and Hair & Make-up will definitely be in the running for Oscars too. 

However, and this is a big however, the story itself - screenplay credited to Jon Spaihts, Eric Roth and Denis Villeneuve - was an utter disaster. Messy, hollow, shallow and unnecessarily convoluted with none of the nuance and finesse of Frank Herbet's novel. Villeneuve's vision was a spectacle but Herbet's dense source material deserved a treatment similar to Lord of the Rings or even Game of Thrones. The story needs space to breath and the characters deserved to be humanised and fleshed out and given depth, instead of ending up as the one-dimensional archetypes/stereotypes that they were reduced in this film. 

Be warned, this film was Part One of a possible two-part epic, but Part Two has not even been filmed yet and writing as only just begun. It may not even be filmed if Dune crashes. That being said, this film should not be judged on what it could be - maybe great - but what it is - decidedly not good.

What Dune deserved was a commitment like LOTR for a set number of films to translate its story to the big screen. For all its fault, even the less successful The Hobbit gave its characters the time to develop and, like in LOTR, allowed Peter Jackson to really dive into the complexity of Tolkien's world. The politicking, the backstory, the world history and, most importantly, why it all mattered.

That was really what was wrong with Dune. Why did anything matter? What was the purpose? There was no tangible reason to root for anything or anyone. There was no heart and no soul in this gorgeously sumptuous space opera. Things happened, people moved, but no motives were illuminated. 

Herbet's Dune predated George Lucas' Star Wars but the similarities were clear. However, Villeneuve's vision only served to modernise the production which allowed for an expansion of scope but without replicating any of the emotional complexities that made Star Wars such a beloved franchise/story. 

All of Villeneuve's prior projects seemed to have led to this film. There were echoes of all his p[revious English-language films littered throughout the film from the desert landscape and twilight shots of Sicario to the sci-fi realms of Blade Runner 2049  and Arrival, and the slow-burn drama and mystery box of Prisoners and Enemy. However, a common thread was the slow disintegration of human drama and emotions in his films through the years in exchange for large, visual spectacle. Somehow, he has lost the intimacy of Prisoners and Sicario (and even Arrival) with Blade Runner 2049 and now, Dune.

The only actor/character that rose above all that was surprisingly Rebecca Ferguson's Lady Jessica. Now, that was one character who was interesting. What were her motivations? What was her backstory? Why is she like this? Ferguson's portrayal easily conveyed all that nuances. Too bad, she was not the focus.

Other characters/actors that came close were acting stalwarts Charlotte Rampling as the terrifying Gaius Helen Mohiam and Stellan Skarsgard as the scheming Baron Vladimir Harkonnen (who thankfully had an appropriate modern update and ditched the homophobic backstory). Unfortunately, both of whom were given limited screen time, although they absolutely crushed it.

Everybody else seemed overwhelmed and dwarfed by the world-class, world-building that Villeneuve had done. Their characters seemingly swallowed by the self-grandeur of the story. Timothée Chalamet's Paul Atreides reduced to a Christ-saviour role with puppy dog looks of longing - but longing for what? Chalamet was definitely no Tony Leung. 

Zendaya's Chani was an over glorified cipher and personification of a vision quest, and when she finally entered the narrative proper, you wonder how she managed a Best Actress Emmy win.

Oscar Isaac tried his best, but he was not given the time or the luxury to delve into what was possibly an intriguing backstory. 

Both Josh Brolin and Jason Momoa were reduced to eye-rolling caricatures of the gruff mentor with ?possibly a good heart and the bro-ly subordinate who takes the role of the BFF but will always still be the loyal subject. 

Oh, also, this film was surprisingly racist and non-inclusive. True, granted that Herbet's novel was about imperialism and colonialism, but it would not have hurt for Villeneuve and co to do some updating. Instead, we were left with a white-saviour narrative, white ruling classes lording over indigenous POC who were portrayed as lower class, and of course a mis-used Chang Chen as Dr Yueh the healer of the mystic arts that just so happened to be Asian (three steps forwards and two steps back after Shang-Chi).

Fraser will surely get another Oscar nomination for his outstanding cinematography here. It really worked very well on an IMAX screen. That was a highlight - for me - of the whole film. The visuals were just gorgeous.

Zimmer will also get his perennial nomination. He has gotten this whole space operatic, epic scoring down pat. It worked really well and was exciting at all the right moments. However, it was kind of expected from Zimmer without any surprises.

I really do hope Part Two gets made. And maybe then franchise can be saved. That being said, this film, on its own and by its own merit, was only mildly entertaining. Gorgeous, beautiful and impressive, but shallow, hollow and uninvolving.

Drive My Car ドライブ・マイ・カー

Who would have thought that a three-hour Japanese movie, based off a Haruki Murakami (村上 春樹) short story, intertwined with copious amount of Anton Chekhov's Uncle Vanya, that meditated on love, life, grief, guilt and letting go would so easily be one of the best films of the year so far. It was no wonder that Drive My Car won the Best Screenplay award at this year's Cannes Film Festival. This was an absolutely arresting, thoroughly engaging film that was well worth the three hours screen time. Admittedly, it did sag a bit in the Second Act, but the pay off in the end was worth it. 

Ryusuke Hamaguchi's (濱口 竜介) follow-up to the equally enigmatic Wife of a Spy, again employed a deceptively simple style of matter-of-fact storytelling but underlaid it with actors, characters, dialogue, mood, tone and atmosphere that was utterly rich in emotions with none of the histrionics. There were no big set pieces or moments of sparring emotions. Instead, Hamaguchi served us a subtle, elegant exploration of human emotion and human connection. It was minimalistically Japan-esque. 

Murakasami's words and themes were beautifully brought out and evolved from his much simpler short story of the same title. The addition of Chekhov to the script not only added a new layer of elegance but also served to smartly allow Hamaguchi to inform the audience and guide their experience without being overtly intrusive (a little tad heavy handed at the end, but the execution softened the blow).

However, this three-hour film would not have been tolerable if not for its cast, especially lead actor Hidetoshi Nishijima (西島 秀俊), Nishijima was practically there from the start to the end and in almost every scene (maybe even all the scenes). He has an enigmatic presence with a face that was sincere yet consistently hard to read. He and his character were equally guarded and unfathomable, but every time we get a new morsel of insight it was a whole new revelation. The quintessential Murakami protagonist.

But, like all good Murakami stories, the central male figure will need equally enigmatic and magnetic females. And, lucky us, we get three shining examples here. Reika Kirishima (霧島れいか), as Nishijima's character's metaphorically mysterious wife who dominated the First Act and was an ever present specter throughout; Toko Miura (三浦透子) as the wise beyond her years eponymous driver of the car with a backstory the slowly unfurled and magically, like in all Murakami stories, tied in with Nishijima's story; and Park Yoo-rim (박유림) as a mute-Korean actress in the play-within-the-movie who as Chekhov's Sonya personified the heart and emotional core of the film.

A little shout out to Masaki Okada (岡田 将生) who was the sort-of antagonist but in the end delivered a beautiful monologue that was piercing in its honesty and truth, and kind of redeemed him as a character.

And also to Eiko Ishibashi (石橋英子) for a lovely score to accompany the narrative.

Oscar season has now started! I hope this will be Japan's entry for the Best International Film Oscar.

Shang-Chi and the Legend of the Ten Rings [IMAX]

Shang-Chi was a well-paced, highly entertaining and exhilarating film to watch that was well punctuated with great comedic moments (mostly courtesy of Awkwafina - finally in a role that daftly balanced her comedic and dramatic chops) and viscerally exciting, mostly-kung fu, fight scenes. But, most importantly, it gave us perhaps the MCU's best villain since Tom Hiddleston's Loki with the infinitely charismatic Tony Leung's updated Mandarin - now known as Xu Wenwu. Leung owned the screen and essentially the whole movie with his presence, his acting and those ever-emoting eyes. 

Also, kudos to the rest of the great supporting cast, especially the equally charismatic Michelle Yeoh, an enigmatic Zhang Meng'er, surprise comedic relief Benedict Wong in what was essentially an extended cameo and scene stealers Sir Ben Kingsley and Morris.

With such an arresting supporting cast, Liu Simu, ostensibly the lead actor in his own superhero origin story, was unfortunately relegated to a seemingly peripheral role. He had great chemistry with Awkwafina and the early scenes with them both were immensely fun. However, once Liu met up with Leung in the Second Act, the gulf between the two actors was obvious and the latter effortlessly dominated the screen and the narrative. Even when Leung was off-screen, Liu's dramatic efforts of emoting loss and regret only served to highlight the disparity between a screen legend like Leung and a relative newbie like Liu. 

Directed by Destin Daniel Cretton, an Asian-American, we finally got an Asian superhero movie that broke down Asian stereotypes. Cretton and fellow co-writers, David Callaham and Andrew Lanham, subtly inserted racial politics into the screenplay and also not-so subtly broke down Orientalism with its normalisation of Asian martial arts, and religious and cultural beliefs. Some of it may have gone over the head of most Western audience, but to an Asian audience, the nods to Qing Ming festival, ancestral worship, Asian-millennial/Gen X angst, etc were well appreciated.

It was also refreshing to watch an MCU/big Hollywood film that started in Mandarin and with at least 20% of the on-screen dialogue also in Mandarin. Although it was rather annoying that there seemed to be no consistency in when the characters spoke English and when they spoke Mandarin - except for Awkwafina's character which was clearly - and authentically - an American who barely spoke her mother tongue. 

The action sequences were a major highlight up till the final climatic battle. Most of the early fight scenes were kung-fu based and the action choreography was strong. The fights were visceral but also graceful in their violence. Although it was a wasted opportunity not to have Leung and Yeoh have a spar-and-talk scene together. That would have been awesome! Instead, Leung's big fight was inevitably with Liu, and thankfully Leung was capable of acting solely with his eyes to imbue the fight with the significance and emotion that it deserved.

Unfortunately, in the end, the film succumbed to the MCU-mandatory CGI final battle that verged on messiness. It only got by because the larger and brighter IMAX screen allowed the action to be more easily discerned and distinguished. Not sure how it would look like on a smaller screen. 

Bill Pope was the cinematographer and music was by Joel P. West. Both of which were distinctive but also not entirely standouts. The IMAX experience really benefitted the film, especially with regards to the final battle. 

As usual, stay on for the standard MCU mid-credits and end-credits stingers which nicely set up future movies and/or Disney+ series. 

The Medium ร่างทรง

 

A Thai-Korean horror film whose central conceit was its mockumentary/found-footage style of filming. Both the Thais and Koreans are known for producing great horror flicks although their heydays are a couple of years back. Nonetheless, a collaboration between them did come with a certain level of anticipation, and it is safe to say that The Medium did meet them - sort of.

The Medium was a slow burn horror thriller that took its time to establish the supernatural elements of its story, primarily because it dealt with a culture and beliefs - Northern Isan Thai - that were not so commonly known. 

At over 2-hours long, the film had three distinct acts. 

The first act, as aforementioned was establishing the conceit and background of the film and its characters. In this regard, director Banjong Pisanthanakun did very well. The mockumentary style gave us a clear sense of perspective and identity into its lead characters, and clues and hints were dropped early that foreshadowed things to come. Atmospherically, there was a pervasive sense of dread mixed with a certain mystery and unknowing-ness of how the story will develop.

In the second act, we finally get a clearer picture of what kind of subgenre of horror The Medium belonged to - no spoilers here - but the fun was then in trying to figure out the why and how. Why is it happening and how will they (the characters and the film makers) sort it out. And at this point, the typical creepiness commonly seen in first acts of horror films started to creep - ha! - in. As did the usual plot twists and ah-hah moments one would expect from the genre. 

Then we come to the third act, where The Medium just went all out. Think Ring meets The Exorcist meets Rec meets Dawn of the Dead. But at the same time, it was also not terrifying scary. A lot more gory, creepy, gross, morbid, icky than straight up frightening and scary. Thankfully also, Pisanthanakun kept the jump scares to the minimum. But boy, what an ending. A few zags when you thought it was going to zig, and a few zigging when they have just zagged. The final pay off was worth it which is really what one wished for with any decent horror films.

Let's be honest. The Medium was no Ring or Shutter but it did linger on after it ended and it will surely generate post-film conversation. Furthermore, the story and concept did leave the door open for possible sequels or anthology-like series. Therefore, do expect some possible afterlife incarnation.