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.