Suspiria (2018)

suspiria_ver24

Premiering at the Venice Film Festival, ‘Call Me By Your Name’ director Luca Guadagnino’s homage to the 1977 ‘Suspiria’ is a film that has vastly polarised critics and audiences alike and is definitely an example of a weirdly hypnotising film, whether it be good or bad.

Dancer Susie Bannion (Dakota Johnson) has always felt an urge to be where top choreographer Madame Blanc (Tilda Swinton) is. This desire takes Susie to the Tanz Academy in Berlin where she quickly grows accustomed to the methods of Blanc and other madams and their front as a dance school slowly disappears to reveal them as a chorus of witches.

Off the bat I must admit I have not seen the Dario Argento original but shall definitely seek it out after watching…whatever this was. The whole look of this update doesn’t go down the usual glossier redo but keeps the film in bland, bleak tones of browns, greys and whites which makes the bursts of red all the more alarming. The entire feature has this odd pull; like it’s drawing you into a state of hypnosis which nicely mirrors the inexplicable connection Susie has always had with Madame Blanc.

Guadagnino utilises on some neat shots and clever style choices throughout this film. Whether the frame rate is slowed right down or cameras suddenly whip and zoom toward someone, there’s definitely a smart tactic made by the director in presenting this strange horror with a flair of confidence and compelling curiosity.

People will likely be talking about the near final scene for a while. A carnival of Dionysus proportions with a river of red is outlandish and mad. This creepy coven shows off a beastly display of blood and ritual that is so horrific and over the top that it’s very nearly unintentionally amusing. Better flashes of horror comes from a dance section with the ladies draped in ropes of red which is amazingly choreographed and an earlier back and forth rite of passage between a debut rehearsal and a victim trapped in her own freakish hall of mirrors. This moment is squeamish and damn effective.

‘Suspiria’ does have an abundance of flaws though, a major one lies with the screenwriter’s choice to present the narrative in a 1970’s setting with too much room spent on the aftermath of the Berlin divide and post-war anxieties and grief. This theme is fine but on the whole it drastically takes away from what could have been a more focused look at just the dance academy and its witches. Thom Yorke’s soundtrack provides a heavy dose of piano which adds to the mesmerising quality but often makes the movie like a lullaby to rest your eyelids to. Also, that carnival explosion of gore and coven craziness has a great sinister sound backing the visuals and then Yorke’s vocals come in again and make the whole thing feel dreamy and ridiculous.

Johnson definitely knocks back anyone who says she can’t act because her turn as Bannion is a fantastic journey of passion, training and a personal core of unsettling change to where she ends up. Swinton is as strangely alluring and magnetic as always, just the way she delivers her lines like a precise poet carries a maternal yet worrying edge. The likelihood is that she also plays two other characters and one is of an aged male doctor which further proves what a brilliant chameleon Swinton is as an actor.

‘Suspiria’ to the uninitiated really goes places you won’t expect and feels like a mysterious yet slow descent into hell. It’s often too drab and floaty but has great attacks of visual horror along the way.

4.5/10

Advertisements

Bohemian Rhapsody (2018)

2000848586

The show must go on. After ups and downs that would sink even the sturdiest ship, this production has survived lead actor changes and a fired director to keep its head afloat and finally see release. It was worth the wait because this biopic docks with dynamic delight and is a blast of fun.

‘Bohemian Rhapsody’ chronicles the birth of the band Queen up to their Live Aid performance in 1985. It mostly follows the life of lead singer Freddie Mercury (Rami Malek), as he both deals with his sexuality and identity and the hopes that the group will achieve greatness for providing something different to the music landscape.

The story predominantly follows Freddie Mercury as his is the most captivating presence to observe. As a Queen affair, the other 3 members don’t play too much of a part, it’s mostly their music that does the talking and quickly this film sounds like a rock musical. Their incredible songs take over and though it would have been much better to let the film take some time in setting up their genesis, the sounds of their classic tunes can’t help but course through you and get your head nodding and your feet tapping.

This early rush of Mercury joining May and Taylor and before the audience knows it, the foursome are touring in America feels like a wasted opportunity for a gradual climb to their success but as the film progresses like the operatic vision in Freddie’s mind, it fills out with chords of fun brilliance and beats of more dramatic emotional moments. Though it plays fast and loose with a lot of facts, it’s a movie that gets better and better and when the credits roll you wish that it wasn’t over.

Bob Geldolf’s massive Live Aid concert bookends this film, the first scene is just a gorgeous snippet that tickles the senses to the arrival of a phenomenal band. It is the ending scene that plays out like a cinematic concert. The guitar riffs, drum smacks and Mercury’s vocals ring out and reverberate around the screen in the biggest and best possible way.

It isn’t solely their music that makes you go Radio Gaga, there could have been more to the privacy of Freddie and his band-mates but the brush strokes which paint us Freddie’s personal life are more included than you may expect. The LGBT scene of the period, his mannerisms and ultimately the disease which took his life at a cruelly young age aren’t flippantly tossed away, they were part of this icons magnificent character and the film ensures to include this side of him. The support of May, Taylor and John Deacon do come into play more as we see how supportive they are through thick and thin, without them Mercury would go on a full self-destructive crash.

Rami Malek as Freddie Mercury is inspired casting and though he felt unaware at first of Queen’s back catalogue, he quickly embodies the singer in such a way that there’s numerous times you think you are watching the real man in front of your very eyes. The movements of Malek are exceptional, he possesses an otherworldly electric grace that fires up the stage as Mercury did so well. These enigmatic and flamboyant touches are vibrantly sold by the actor. Lucy Boynton is a wonderful, sweet presence as Mary Austin, the woman behind Freddie. The actor can tell a thousand stories through her expressive eyes and the emotion she delivers shared with Malek are touching, you can really gauge their closeness despite everything. A semi-cameo from Mike Myers is amusing even just for his almost Shrek accent and ‘Wayne’s World’ reference.

This may definitely be a film that comes across like a self-congratulatory pat on the back to the band, with their hits zooming out of the speakers like a crazy stadium jukebox but it’s the most fun, energetic musical ride. At the end of the day, music is a universal language and Queen’s speaks volumes to how bold and visionary they were and will always be which the film very nearly reflects.

8/10

Beast (2018)

mv5bmwjhntm1mwytztllny00mdrhltlmzgqtmwy5mmqwn2fjogu2xkeyxkfqcgdeqxvyodazodu1ndq-_v1_ux182_cr00182268_al_

Stalking the screen with effective tension is this beastly feature. It certainly has bark and bite, as we see this dark thriller take hold and swallow you up, in a dangerously palpable mystery.

Celebrating her birthday is Moll (Jessie Buckley), who ends up dancing the night away before crossing paths with the possibly shady Pascal (Johnny Flynn), the next morning. There have been a series of grim murders plaguing the island and it isn’t long until people suspect Moll’s new connection, as the man behind the disappearances.

This is a debut work from Michael Pearce; who unarguably knows how to layer on the tension. The film almost sweats out a deep and engaging psychological tale, as if Pearce is allowing us to peer through a magnifying glass at all the worrying little details possessed by Moll and Pascal, details that keep us questioning their relationship and the trail of murders.

Coinciding with Pearce’s fantastically hypnotic visuals is a score from Jim Williams that drips with almost spine-chilling strength. The entire look of this movie is that of a frightening British drama, with a cold dirtiness and a somewhat fun immersion into thriller territory that is enhanced by the plot. The narrative is one that definitely kept me guessing and the end is one I could talk about for some time yet, it’s visceral, unexpected and almost reaches the realm of being powerful.

Saying all of this, I don’t know whether it’s a film I’d watch again and it’s a story that I was a little disappointed didn’t end up being darker or more twisted. The film also slightly suffers from feeling like a slow tick-tock aspect, which does make it feel a little bit long. I’d definitely say the film is strongest in the first two thirds.

The acting is blindingly great, some of the most captivating performances I’ve ever seen. Flynn excels at playing this secretive, maybe dodgy character that turns up in Moll’s life. There’s a great balance of masculinity and softer love he portrays as he gets wrapped up in the whirlwind of the flame haired Buckley. She is incredible, the emotions she goes through are numerous and each one is carefully performed, drawing you into her as a character. It’s almost a tour de force show that she puts on and Moll comes to vivid and horrific life thanks to this.

This could be bad or good but I still don’t really know how I feel with ‘Beast’ and perhaps that’s testament to how fearless and different it is. The movie is rife with tension and I can at least safely say that it’s two leading stars ensure you cannot look away.

7/10

Call Me By Your Name (2017)

4205-12368-callmeby

After missing out upon it’s initial release, awards hopeful ‘Call Me by Your Name’ returned to a cinema near me and though I liked the sun-drenched aesthetic, music and performances, I didn’t find myself captivated by the plot in any way.

In 1983, an American grad student called Oliver (Armie Hammer), spends 6 weeks of his summer at the Perlman residence to help with his paperwork. Seventeen year old Elio (Timothee Chalamet) begins seeing this outside figure as a nuisance but it moves forward to secretive hang outs and a blossoming first love for him to ride the highs and lows of.

Luca Guadagnino’s directive stamp on this is pretty stunning, The Great Beauty of an undisclosed Italian location is as ripe as a peach for beautiful moments. Sayombhu Mudkeeprom works with the director to create shots that are filled with yellow rays and highlight the glory of both Italy and this summer love. Closing Guadagnino’s ‘Desire’ trilogy, this is definitely a glorious and interesting melancholic yarn being spun; it’s without a doubt a much more engaging movie than ‘A Bigger Splash’, but again it’s a release that suffers with length.

I must admit I did in fact get quite bored during the late stages of the second half. In the first part, the setting, characters and music all get introduced very well but as the private romance begins, the film started waning and stretched almost into boredom for me, where I was just waiting for the obvious moment when the two would go their separate ways.

The main reason I feel like the later scenes distanced me, is because I never ever bought into their relationship. It’s meant to be this beautiful spark of mutual attraction but I didn’t once believe they loved each other. It felt like Elio was a kid infatuated and Oliver was taking on a summer fling; which makes the consequent second half and their sad parting…well not very sad at all. The story didn’t resonate with me in the way I expected it would, considering all the astounding reviews it’s been collecting recently. I in no way disliked the film, I just started tiring by the end and wouldn’t recommend it outright.

I did thoroughly enjoy the score, almost wrapping me up into the lush scenery of the film. A piano heavy backdrop of music works well in both providing a nice lullaby tone and mirroring the pianist skills of Elio himself. Sufjan Stevens gifts the movie three songs and Mystery of Love; which is in contention for an Academy Award, is like some calm water gently soaking over you as you listen. The song perfectly compliments the look and tone of the film.

Chalamet is a wonderful presence, at times presenting himself wrapped round Oliver, like the curved statues spoken of as displaying desire. He brings this quiet teen intellect to the character but you can see there’s a nervous unknowing to how his narrative plays out, which is quite fascinating to watch. Hammer possesses this goofy charm throughout the picture, a serene confidence to his character and the eventual relationship. It’s definitely one of his finer turns and I’m sold on his dance moves which are care free and delightful. Michael Stuhlbarg is in this and it’s a wonder, no, a crying shame that he hasn’t been up for a major award yet, because he most often is the best quality in a production, and in this he provides good touches of humour, believable dad advice and a calming aspect to run with the general calmness of the story.

‘Call Me by Your Name’ is an assured sweet film about the ride of first love and it’s summer tinged backdrop is a wonderful look to bolster the vivid exploration of Elio’s crush. I just wasn’t as taken by the story itself that’s all.

7/10

Darkest Hour (2018)

darkest-hour-poster

All hail Gary Oldman, he may not be playing a king in this war drama, but his turn as Winston Churchill is unarguably incredible and deserving of golden awards and a crown.

During May of 1940, Germany are on the attack and reaching the worrying position of heading onto the shores of Britain. People and politicians alike have demanded the resignation of Neville Chamberlain (Ronald Pickup) and his position becomes available for Winston Churchill (Gary Oldman). At such a crucial point in politics and the war effort, it becomes a huge task for him to stick true to his grit and dogged determination to fight on.

Joe Wright captures this massively important passage of time with such stunning detail. There are plenty of tracking shots that sweep through frames of locations heaving with extras and ornate rooms. Birds eye shots are seen on numerous occasions which truly help the audience realise the scale of the scene; as most of these are overhead shots from the men out on the fields fighting for their lives. This is a film that settles you in and makes the ticking over of these integral dates in May feel as significant as they clearly were.

Cinematography and music combine in this biographical war movie in such a beautiful fashion. There’s a captivating sense of weight to what is seen and heard which perfectly reflects the dramatic choices on Churchill’s shoulders. Sadly, the narrative itself isn’t as in keeping with the captivating score and mise en scene. It’s a screenplay that mostly manages to carry the ordeal of political power at the brink of UK failure but there are times that the film chugs along, almost dragging out the days. Also some scenes/moments just screamed of being contrived for pure cinematic, awards season value. The Underground visit being something that yanked me right out of the film.

Luckily, there isn’t too much that did take me out of the movie and one aspect that really immersed me was the creative skills of the hair and make-up team who have achieved a wonderful character in turning Oldman into the well known war leader. The look is incredible and I forgot through almost the entire feature, that I was watching the actor under such inspired prosthetics.

Speaking of which, Gary Oldman is a force of acting nature as the British bulldog. The inner depths of conflict and concerns whether his decisions are the right price to pay are utterly felt in every delivery of the lines; from nuanced engaging moments between the PM and his wife to more ferocious and sometime humorous words of wisdom that roar to life thanks to the apparent effortless talents of an actor well deserving of all award talk. Kristin Scott Thomas has a serene and wonderful presence in the film. She plays Clementine or ‘Clemmie’ as Winston calls her and the scenes with her are great moments that display her emotions to how her life is but they nicely give us respites in Churchill’s usual fiery resolve and show his human side when not performing. Lily James plays secretary Elizabeth Nel and her role, though softened and there to provide easy ways to inspire Churchill when necessary, isn’t entirely bland. James gives grace and helpful assistance to Winston and the film. I must also mention the wondrous Ben Mendelsohn who plays the stammering King George VI with a gracious believable touch and his change in heart to the once disliked Churchill further gives this film the rousing applause to an iconic figure in history.

The plot may not always be a searing delight, but the spotlight on Churchill’s achievements at the crux of British ruin is an intensely detailed marvel to look at and with Oldman stepping into the shoes and hat with a cigar to hand, Winston has never looked and sounded more alive than in this mesmerising showcase.

8/10

Battle of the Sexes (2017)

battle-of-the-sexes-australian-poster

Game, set and match! This film is an ace of a biopic and extremely relevant with the current climate of the female/male divide. High flying 60s/70s tennis star Billie Jean King and women as a gender themselves rise up and show the grass should be as green on their side of the court as the men.

Billie Jean King (Emma Stone) is a world class tennis talent but she and every other racket wielding sportswoman are subjected to taunts, digs and extremely less pay than the apparently better and more exciting male tennis players. King says no more, to important Lawn Tennis Association figure Jack Kramer (Bill Pullman) and starts her own tournament. This bold journey leads her agreeing to a match with former champion Bobby Riggs (Steve Carell) in the first Battle of the Sexes match.

The story telling is incredibly engaging and like with tennis we go back and forth between the two sides and see how this very, very different people live their lives and train for the big sporting event. ‘Slumdog Millionaire’ writer Simon Beaufoy pens an assured telling of an important topic for empowerment and liberation. There are still great drop shots of comedy to be found along the way but he ensures the serious message of gender equality is at the forefront.

The way this film is delivered really works well in making you get excited for the big face off. I wasn’t expecting it to show much of any tennis playing of the match itself and thought it’d adapt Bobby and Billie’s stories leading up to this point but gladly there’s a lot of edge of the seat playing to be seen, you really see the styles of the two players come to a head and as someone who loves watching tennis, the last sequence is exhilarating, tense and beautiful all at the same time.

There is a set of interesting points with this sports story and a lot of them boil down to loves and politics. It’s not just a dramedy but a smartly told narrative that keeps a genuine interest in its subjects. On the softer side there is a forbidden fruit notion of love that ticks away, this secreted passion further adds to the dramatic relevance of the characters and their pre-match behaviours. One is a incessant gambling man-child and the other is a laser-focused achiever struggling with a new feeling in her life.

Stone serves up a careful and emotive performance as the courageous and capable Billie Jean King. You see past her period glasses and into her eyes and get an idea of the amazing and forward thinking woman she was and I’m sure still is. Carell smashes the movie in a role that continues his run of serious acting performances. It may not carry that chill of ‘Foxcatcher’ or the brains from ‘The Big Short’ but he utilises on his comedic background whilst still giving Bobby Riggs a worrying quality of chauvinistic pig-pigheadedness. Andrea Riseborough is a glowing presence in the life of King and she plays this more confident person with a free spirit in a believable and effortless manner.

It’s not a total grand slam of a bio drama as it hits the net with a couple of expected sporting drama cliches or predictable story moments, but these are mere tiny notes in a film that greatly balances pleasing humour and interesting gender politics with a leading duo of actors that are fantastic.

7.5/10

Film Stars Don’t Die in Liverpool (2017)

quad_aw_31162-film-stars-dont-die-in-liverpool-1068x801-1024x768-700x525

This was a film that likely would have passed be my; I hadn’t seen a trailer or knew anything about this, but I’d call it a hidden gem because it’s just wonderfully made harking to the Hollywood of old.

After falling ill before a stage performance, former silver screen actress Gloria Grahame (Annette Bening) wishes to stay at the house of Peter Turner (Jamie Bell) and his kin. Turner and Grahame had been in a relationship for the last two years or so and we see their up and down romance throughout the movie.

Based on a memoir from Peter Turner himself, this romantically themed drama is extremely engaging. Firstly I must comment on the utterly believable relationship between Bening and Bell. This old/young romance never feels wrong, strange or make believe, there’s a genuine affection and attraction built between the actors that helps the film along. The film delves back and forth between her at the house in 1981 and her meeting Turner in 1979, the transitions to and from these moments in time are quite clever and give it an almost one take theatrical vibe as if moving scenes forward on a stage.

For my sins, I had no clue that the glamorous performer in question was actually based on a real actress from the heyday of Hollywood. This only made the story more impacting as I came to realise the true account running through the narrative. I liked to think I know Oscars and actors but I obviously need to brush up on the glitz of 40’s/50’s stardom. It’s this pizzazz and studio based ideal of talent and fitting into a mould to sell pictures that gives Gloria real depth and vulnerability as you see her clinging on to youth and wanting to be loved.

There are some aspects in the film that are predictable and you know what someone may say or what characters will do and a sequence you see from one perspective gets re-shown from the other side with a healthy dose of melodramatic strings rising and clear emphasis on trying to make you emotional, almost cheesy I could say. There’s clear green screen in use for places like New York and beaches of California but they’re apt in a way for this film about acting, gifting the whole feature a movie look as if we’re seeing their memories as glances on a film reel.

Annette Bening better get recognised come awards season, if she’s not up for an Oscar then a Golden Globe at least because she is sublime in this. The mannerisms and the way she talks are an almost sweetly yet seductive Marilyn Monroe quality and she carries confidence and false confidence in equal measure. She completely buries herself into the role and I bought her turn as Grahame hook line and sinker. Jamie Bell gives Turner great care and love, you buy into this man that isn’t much of anything, a success or triumph but a funny, interesting and kind guy who cares deeply for this enigmatic presence in his life. He plays opposite Bening with convincing ease and they’re both fantastic together. It’s great seeing Bell reunite with Julie Walters who dons a Scouse accent rather well and brings that expected and needed heart and comedic touch. I also want to comment on the much too short but almost scene-stealing turn from Frances Barber who plays Gloria’s sister. The icy stares and sharp tongue were brilliant.

This is a film that doesn’t seem to acknowledge the intelligence of its audience with predictable moments and repeated scenes driving home points we’d already gathered but it’s a special movie with a fragile soul beautifully illustrated by the exceptional performances from Bening and Bell.

7/10