The Father [VOD]

First-time director Florian Zeller's adaptation of his own play was a heartachingly tender and immensely immersive film that showcased a phenomenal performance from Anthony Hopkins and a quietly poignant turn from Olivia Colman. This was perhaps one of the most devastating films about aging since Michael Haneke's 2012 Amour. And in my opinion, Hopkins really does deserve the Oscar for his amazing and unforgettable performance that never felt performative and which was maintained throughout the whole 97 minutes runtime.

Zeller told this story beautifully with his camera. Despite an economical runtime, a rarity these days especially with Best Picture nominees, Zeller weaved a powerful narrative that hit all the right emotional notes without feeling too manipulative. It was amazing how he, and fellow nominee/co-writer Christopher Hampton, managed to get us absorbed into the mindscape of a man in the throes of dementia. The confusion and hesitancy felt so visceral and palpable that even we, the audience, also find ourselves questioning reality.

The film still felt like a play at times, especially the two-handed bits with Colman and Hopkin, but the freedom of cinema actually allowed Zeller to tell an even more visual story. And it is no wonder that the Production Design scored an Oscar nomination too. Just like the house in Parasite, the London apartment was a character undo itself. The design choices, the colours, the layout, they all helped to tell a story of a man addled with doubt, confusion but still sparked with moments of clarity.

Hopkins was simply fantastic. This was his best performance in years! And with last year's Two Popes, he is in some sort of late-stage renaissance. Throughout the film, Hopkins displayed an amazing range of emotions and physicality which he could effortlessly switched on and off. Admittedly, Chadwick Boseman was good in Ma Rainey's Black Bottom and he had that one great scene, but Hopkins was great throughout the whole film and even then he still had multiple moments of absolute brilliance. Boseman's narrative might be strong, but in terms of quality of performance, Hopkins was undeniable.

Colman also scored a second Oscar nomination for her strong, restrained performance as Hopkin's daughter. Colman was a master in the portrayal of the silent pain and suffering of the aggrieved carer of an elderly ailing patient. A nuanced performance that relied much on Colman's expressive face and emotive eyes. 

Olivia Williams (what a great bit of casting!), Mark Gatiss, Rufus Sewell and Imogen Poots rounded out the rest of the cast who were great in their own way.

Ludovico Einaudi provided the music, just as he did with fellow nominee Nomadland; and Ben Smithhard did the cinematography. 

The Father was a beautiful film that absolutely deserved all its accolades. 

Godzilla vs Kong [IMAX]

Let's be honest, no one really goes to watch Godzilla vs Kong for the plot or expects any semblance of logic and credibility. That being said, what it did deliver was a spectacle. Hand-downs a more spectacular, large (IMAX) screen, CGI-action than even the last two IMAX movies I watched, i.e. Tenet and Wonder Woman 1984. 

Godzilla vs Kong was essentially a mash-up of that 2008 Journey to the Center of the Earth meets Interstellar and Pacific Rim. Basically that summarised the "plot" of the film. 

But boy, did the action deliver. 

And so kudos to director Adam Wingard for giving what the fans want. Multiple large scale, epic battles between two titans and gorgeously rendered CGI landscape with minimal unnecessary slow-mo. Who needs the film to make sense? And who needs Pulitzer-quality dialogue. Just accept that the plot needs to move forward to drive the narrative and that people talk in clunky, exposition-heavy monotone, then sit back and enjoy the view. Tom Holkenborg's, aka Junkie XL, loud, bass and electronic-heavy soundtrack definitely also helped to drive the action. Seriously, this was one movie that deserved to be watched in a cinema. 

Alexander Skarsgard was the big name here and I will not begrudge the man for doing this for the paycheck. Same goes to Rebecca Hall. They have both established their bona fides to deserve some easy money. 

Brian Tyree Henry provided the comic relief as did New Zealander Julian Dennison. 

Millie Bobby Brown was just shoehorned in from the previous instalment because she is popular. And because of her, Kyle Chandler was cast. 

Lastly, we had Eiza Gonzales in a horribly miscast role only because she is supposedly poised to be the next big thing and Demian Bichir was cast because we always need an Euro-accented villain.

At just under 2 hours, the film went along smoothly enough. Each big set piece was interrupted with just enough breathing space (and eye-rolling) to move the story along. And the final climatic battle was absolutely worth the ticket price (IMAX optional) after a year-long drought of big popcorn blockbusters. 

But seriously, maybe Warner Brothers should end the MonsterVerse here? 

PS: Also, just don't think about the human casualties sustained. Obviously WB has not learnt much from its Man of Steel debacle.

Wolfwalkers [AppleTV+]

 

A beautifully hand drawn animation that was reminiscent of Miyazaki's early works with his folklore-based, fantasy storytelling centered on strong female protagonist(s). Coupled with great music and excellent voice work, this mesmerising Irish tale was an utter delight. Definitely suitable for all ages with the young ones surely delighting in the colourful and unique animations and cute creatures, and the adults finding joy in the simplicity of the storytelling that underlaid a deeper theme of family, love, country and duty. If it was not for Soul, this would have easily been the front runner for the Best Animated Feature Oscar. 

Directed by Tom Moore and Ross Stewart, and based on a screenplay by Will Collins, Wolfwalkers told a simple tale of friendship, familial-bond, tyranny and environmentalism all wrapped up in a stunningly beautiful, now seldom seen, hand drawn environment. The flatness of the background and the roughness of the outlines made for a unique visual feast as the story weaved in and out of nature. And when things got mystical, the animation style changed again to reflect the awe-inspiring quality of it. But, that was not all, as we reached the climatic showdown, the animation style got even rougher to heighten the messiness and the tension. What an unique way of storytelling to add another dimension to the humble animation!

The biggest named voice cast was Sean Bean and Maria Doyle Kennedy (Hi, Ned Stark and Mrs S!) but the real gems were the girls who voiced the two wee lassies in the lead - Honor Kneafsey and Eva Whittaker. They had great vocal chemistry together and Kneafsey, especially, was able to expressed a myriad of emotions through her voice work allowing her character to believably evolve from a naïve English girl to a proud fighter.

Music was by Bruno Coulais and folk group Kila with Norwegian singer Aurora re-recording her aptly-titled - and suitably written - track, "Running with the Wolves".

Wolfwalkers was a beautiful rendered, family-friendly animation with a simple yet great story that was told with sincerity and heart.

The Mole Agent (El Agente Topo) [VOD]

This was a heartwarming and touching documentary presented in an unusual film-like narrative that explored aging, loneliness and death but peppered with humour, sincerity and tenderness. Shortlisted as Chile's entry for both Best International Feature Film and Best Documentary Feature in this year's Oscar race, but I think its chances to making it into the top 5 are slim given its more simplistic subject matter compared to the other contenders. Nonetheless, this was a highly enjoyable film that will truly warmed the cockles of even the most cold-blooded hearts and encourage you to love your parents, the aged amongst your community and your own loved ones. 

Written and directed by Maite Alberdi, this 84-minutes film ostensibly used a cover of alleged elderly abuse in a nursing home to instead reveal a story of mostly-abandoned old folks grappling with the lost of identity, the lost of independence and loneliness. However, this was only possible because of the compelling and highly empathetic protagonist - the titular mole agent - that they found/engaged. 

Senor Sergio may be old and initially slightly technologically challenged but he clearly possessed a heart of gold. His interactions with the residents of the nursing home were filled with wry, deadpanned humour that proved both insightful and piercing. How he, and the film crew, could get away with the investigative prying is a mystery that is best left ignored to fully appreciate the film's final payoff. There was a throwaway line that the film crew was already there filming the nursing home for a documentary but that would put them on high alert to be on their best behaviour, no? Shrugs.

Nonetheless, the key were the people in the film. The main residents with whom Sergio connected with were great characters in their own right and their interactions and stories carried such heavy authenticity that they truly overshadowed the premise's initial investigation of elderly abuse.

The Mole Agent was an unusual little documentary that should be sought out. I do hope it gets some award recognition so that more people will see it. 

Raya and the Last Dragon

The Disney formula never fails to work. 

Charming and filial Princess, cute critter/merchandising opportunities, affable and funny sidekicks, family-friendly morality and themes - strength, unity and trust - and redemption for the antagonist, coupled with gorgeous animation and scenes, a brisk pace, generous amount of child-friendly humour and great voice work by Kelly Marie Tran and Awkafina, resulted in a child-friendly animation that overcame a predictable storyline - literally every beat can be expected - to still successfully tug at the heartstrings, teach a lesson or two, and draw out some tears in the end. So, bravo to directors Don Hall and Carlos Lopez Estrada, and writers Qui Nguyen and Adele Lim for bringing this Southeast Asian tale to life. The little touches of SEA characteristics, including rituals, lifestyle, costumes and daily activities, were refreshing and heartwarming to see. 

Also, it is great that Disney is really branching away from the Disney Princess trope of yore. It is now all about family...but maybe one day it will be all about herself. 

The storyline itself was extremely straightforward and very quest-like. Complete task A to do task B then C, then D until you hit the Big Boss. Just suspend most logical thinking throughout the journey and accept things as it comes and enjoy the ride. Be enchanted by each new city Raya visits and the new friends that she made along the way and hope that each journey and experience will allow her to grow a little more before it is too late...but, again, that Disney formula, there has to be a great failure before there can be growth and awareness.

Tran and Akwafina were great choices for Raya and Sisu respectively. Other than the authenticity of Tran's voice, she imbued her character with an affable warmth and sincerity. Whereas Awkafina, with her unique vocal timbre, was hilarious and utterly believable. 

Unfortunately, music-wise was a bit of a let down. There was no breakout song this time round and even James Newton Howard's score, though uplifting and magical, lacked the Asian authenticity befitting the animation. Pity that Disney did not think of engaging one of the many brilliant Asian - or Southeast Asian - composers to do the score. It would have been next-level brilliant if the soundtrack had been peppered with the traditional music and sounds of the region.

Raya and the Last Dragon did not disappoint and it was a fun, entertaining watch, but it will unlikely be sweeping any awards. Children will surely love it and the merchandising will go through the roof! Gimme a Tuk Tuk!

A Sun 陽光普照 [Netflix]

 

No wonder Variety named this film the Best Film of 2020 and it is in the shortlist for this year's Best International Feature Film Oscar (hopefully it gets into the top 5). This was simply a fantastic and utterly engrossing movie. Running at 155 minutes yet you barely feel the time passed. It was emotionally rich and tightly constructed with a superb ensemble cast that enlivened the whole cinematic journey. Everything had a purpose and nary a scene or moment was wasted. The emotional investment yielded an absolute high return. There was laughter and there were tears. You had fear and doubt, but also love and commitment. 

Director Chung Mong-hong 鍾孟宏 has directed, co-written and lensed a family drama that felt authentic despite the circumstances. He gave every member of the family equal opportunity to shine and spent the required time to explore their emotions. None of them felt shortchanged and it did feel like we got to know them just a bit better by the end of the film. 

The film was clearly divided into three main acts, bookended by a prologue and epilogue that beautifully mirrored - and juxtaposed - each other. The narrative may feel familiar but Chung has managed to imbue the story with enough freshness and unexpectedness to continually engage the audience. But yet similarly, that sense of familiarity helped the audience to empathise with the characters and develop the bond that powered the film. 

Kudos to all the four main actors and also some of the supporting cast. 

Starting with the patriarch as played by Chen Yi-wen 陳以文, who initially came off as the stereotypical Asian father but by the end of the Second Act and into the Third Act, his character evolution was the strongest. It is difficult not to feel empathy for him despite his behaviour in the beginning.

Similarly, we had Wu Chien-ho 巫建和 who played the younger son - the ne'er-do-well  of the family. Like the father, his character also had the clearest character development over the whole film. With his skinny frame and shrugged shoulders, Wu played the delinquent convincingly, but what he did better was to portray the character's growth into a matured, steady and reliable family man. As the film progressed, so did his posture and his confidence as he came into his own. That is until the events in the Third Act rattled off sheen and he subtly reverted back to the mannerisms of his youth. 

Samantha Ko 柯淑勤 played the mother and in a sort of role reversal, she became the stoic, determined, voice of reason in the family. She was defined by her relationships with the men in the family, but nonetheless, Chung still managed to give her a sense of agency. She was the long-suffering matriarch that was keeping the family together and it showed on her face. 

Lastly, we had the elder son as played by Greg Hsu 許光漢. He was the closest we had to an enigma and for good (plot) reason. His character served as the catalyst for the others to change and evolve, and in that sense he was the most important character. Hsu played him with a sincerity and honesty that really struck home on hindsight (and in repeat viewing). 

As for the supporting cast, Liu Kuan-ting 劉冠廷 stood out as the Third Act villain we loved to hate; so smooth and so slimey. 

Cinematography was credited to Nagao Nakashima which is the pseudonym for Chung. The film was beautifully shot and framed with a naturalistic approach to lighting and space.

Simply put, this was a really good show. It is on Netflix and there is not much fanfare for it, but please go watch it!

The United States vs. Billie Holiday [Hulu/VOD]

This was a messy and unfocused film that over-reached in its scope and ambition resulting in a dreadful and tiresome 130 minutes slog that was only saved by Paolo Nieddu's and Miuccia Prada's gorgeous costumes and vintage - yet modern - gowns, and Andra Day's singing. Day's acting had its moments of sparkle, but she lacked the range and depth to give her Billie Holiday any emotional weight or consistency. The weak screenplay by Suzan-Lori Parks and Lee Daniels' muddled direction definitely did nothing to help Day. Daniels, a gay man, had also unnecessarily peppered the film with a number of gratuitous female nudity (mostly of Day) that served no narrative or dramatic purpose.

This film had no idea what it wanted to be. Did it want to be a musical biopic of a Jazz legend/Black activist or did it want to be a straight-up dramatisation of Holiday's life? Is it about Black activism? Or is it about drug addiction? Or perhaps it was simply just a soap about the romantic entanglements of a famous person? So many facets, but none of them polished. At times it just became so frustrating to watch because Holiday was such a fascinating character and you can feel that Day could have been so much better. 

Day was paired with Trevante Rhodes but their emotional ties were only superficially sketched out and lacked any real substance. It packed no punch and also no heat. Their relationship just bore no consequences to the narrative that Daniels was attempting to tell. 

Day sizzled more on stage by herself singing than with Rhodes. That being said, Day attempts at being dramatic also felt shallow. The role/character does asks a lot from the actress, but Day - in her feature film debut - lacked the experience or nuance to really plunge into the depths. Her portrayal often seemed amateurish to the point of acting school caliber. However, granted she did have moments of sparkling brilliance that alluded to a potential unmined. It is just a pity that Daniels and this film did her no justice.

Oh, and what a waste of Natasha Lyonne. Even Garrett Hedlund deserved better. 

Truly, the saving grace were the Prada gowns and Day's powerhouse vocals. Combined them both together and those moments were electrifying. They were the moments worth waiting for but it was a pity that the second half had less of them. 

Day might sneak in a Best Actress (that fifth slot - other than Viola, Frances, Carey and Vanessa - would be a toss up between Day, Amy Adams, Rosamund Pike or Sidney Flanigan, my hope is for Flanigan!) or even a Best Original Song nomination, but the film will likely be shut out from all the other categories.

Another Round (Druk) [VOD]

 An absolute crowd-pleaser buoyed by a terrific Mads Mikkelsen and directed with assured sincerity by Thomas Vinterberg. A total delight to watch as laughter mixed with tears and hope intermingled with sadness and joy. Coupled with the tragic backstory surrounding the production, this was ultimately a film that celebrated and affirmed life for all its complications and complexities.

Starting with Finn Skårderud's unconventional hypothesis that humans are born with a blood alcohol level deficit of 0.05% per cent, the film used that conceit to explore a myriad of human behaviour either between each other or with society at large, albeit with a slightly Danish/Scandinavian leaning. It looked at all the different relationships one might have, with friends, family and colleague, with your work, your passions, your role in society and your duty to self. It looked at love, at regrets, at passion, at responsibilities. 

Essentially, this film used four middle-aged men and their mid-life crises to examine the messiness of life and the relationships that binds us all together for good and for bad. 

Crucial to the success of the film was the genuine chemistry between the central four friends played by Mikkelsen, Thomas Bo Larsen, Lars Ranthe and Magnus Millang. Their camaraderie anchored the film and made the possibilities of four teachers doing such a reckless, pseudo-psychological social experiment believable. 

But of course, lead actor Mikkelsen carried most of the film. His character's psychological changes through the film manifested so clearly - and sharply - in Mikkelsen's physical appearance. His face and his body language was like an extension of his psyche. The transformation ranged from stark to subtle and really was a masterclass in acting. And his eyes...they are so expressive.

And let's talk about that ending. This film had one of the best endings in a long while, and other than Steve McQueen's sultry, sexy 5-minutes plus tribute to love featuring Janet Kay's "Silly Games" in Love Rock, this was also one of the best dance/party/living-it-up sequence committed to celluloid. It was filled with an undeniable and exuberant joy that was so infectious and just so palpable. Paired with Scarlet Pleasure's "What A Life", it was a honest, sincere, hopeful, heartwarming celebration of Life. 

At the end of the film, one just cannot help feeling touched and hopeful and thankful to be alive. Such is the power of movies and such is the power of good storytelling. Kudos! Definite a shoo-in for a Best International Feature Film nomination and a dark horse for Mikkelsen to sneak in a Best Actor nomination. 

Minari 미나리 [VOD]

 

What a great movie! A simple telling of the classic American dream but make it in Korean.

Simply told but endlessly heartwarming, featuring brilliant performances by Steven Yeun and Han Ye-ri, and scene-stealers Youn Yun-jung and Alan Kim as one of the best grandmother/grandson duos on screen. 

Ostensibly, writer/director Lee Isaac Chung's film was about family and the bonds between them that get tested by the obstacles that Life throws at them. However, it also chronicled the quintessential ideal of the Amercian dream, but told through an Asian perspective. Asian audiences will surely relate to the many Asian qualities exhibited by the fictional family, and because of the way it is told - by an Asian film-maker and an Asian cast - it never seemed cloying, false or mocking. 

Chung's story-telling never seemed rushed nor indulgent with each new development in the characters' life given sufficient time to unfold. The only exception was the foray into religion that seemed distracted and underbaked. It seemed to be a facet of Han's character but it gave her no added depth nor complexity and only seemed to serve as a plot device in scaring children to behave. If it wasn't for Han's nuanced performance, it could easily have devolved her character into a caricature. 

Like Han, Yeun also gave one of his best performances as he converts his The Walking Dead fame to serious indie credentials, following his outstanding turn in Burning with this archetypical American dad role. Yeun portrayed his character - a Korean immigrant - as an Asian, with all the typical Asian sensibilities, that wants to be American but yet unable to fully relinquish his sense of self and identity. It was a delicate balance between being American and Korean that made his performance so riveting and relatable.

Yeun's also had great chemistry with Han which helped to successfully convince the audience of the couple's love for each other and also made their struggles and conflicts authentic and believable. Ultimately, it was their chemistry which really helped to sell the film's final act and denouement. 

However, the best performance in the film belonged to veteran South Korean actress Youn. Her grandmother was a hoot and yet she brought so much warmth and unspoken love in her portrayal. Her relationship with the very cute and very endearing Alan Kim was a highlight of the film. They both stole the show at very opportunity. That penultimate scene was simple and absolutely gut-wrenching. Solidified with a SAG award nomination, Youn's Best Support Actress Oscar nomination should also be more or less assured. 

The soulful score was by Emile Mosseri and Lachlan Milne was the cinematographer behind much of the period-appropriate camera work.

Minari was an exquisite film. An example of simple storytelling coupled with an assured directing and bolstered by a stellar cast. But up against Nomadland, its chances of replicating Parasite's success is slimmed. It will most likely be up for Best Picture and Best Supporting Actress, with Best Director, Best Original Screenplay and Best Actor as likely possibilities.