Tag: Reviews

Power and Struggle: a review of ‘Triangle of Sadness’

Bold and in-your-face, Ruben Ostlund’s satirical black comedy ‘Triangle of Sadness’ goes all out in depicting the absurdity of the excesses of the rich and affluent while building a biting commentary on class inequality and the distribution of wealth and power. The film is not afraid to get didactic as characters have extended dialogues (and monologues) regarding gender norms and a drunken battle of words between a Marxist captain of a 250 million dollar yacht (played by Woody Harrelson) and a Russian capitalist oligarch (played by Zlatco Buric) while the aforementioned yacht is being bombarded by a storm and threatens to capsize. Everything is then turned on its head by its revelatory third act that binds everything together. It’s a tonal challenge to maintain the dark and (oftentimes vulgar) satire for its 149-minute running time, but the imagery along with the excellent performances keep you on your seats and eyes transfixed to the screen.

‘Triangle of Sadness’ is not a conventional movie by any sense of the word. From the get-go, the satire hits hard as the film explores and pokes fun at all its characters. To ground us to a storyline, we follow the model and influencer couple Carl and Yaya (played by Harris Dickinson and the late Charlbi Dean, respectively), as they navigate the power struggles within their own relationship as they are invited to join a cruise (for free) on a yacht for the extremely wealthy. Through Carl and Yaya, we are introduced to the other guests onboard like Russian capitalist oligarch Dimitry; Therese (Iris Berben), a woman who suffered a stroke and can only utter one phrase in German; Jarmo (Henrik Dorsin), a lonely tech millionaire; an old couple, who made their fortune selling weapons; and the rest.

Photo from ‘Triangle of Sadness’ trailer

On the yacht, the rich engage in their most indulgent of whims and the hapless crew must cater to their every desire. Led by Paula (Vicki Berlin), the crew and staff work tirelessly to ensure the guests get everything they want and desire, even if those desires run contrary to the rules or the safety of the ship.

For over an hour and a half, we are presented with a vast display of absurd requests and acts of great entitlement and privilege from the wealthy class. It’s writer and director Ruben Ostlund’s way for us to set a moral line before he turns everything over its head.

Past the halfway point of the film, the narrative finally reaches its inciting incident and a storm crashes into the ship sending the whole yacht into a frenzy. It’s a well-executed scene as the whole ship tosses and turns. People get sick. They vomit and defecate everywhere. They lose their balance and stumble and fall. Visually, it’s a reprisal of what we just saw unfold in the first hour and a half. It’s brutal and grotesque but also weirdly humorous.

Photo from ‘Triangle of Sadness’ trailer

But the movie doesn’t end there. The third act is an entirely different movie altogether where the structures in place have been overturned and the rules of the game have changed. This is when Abigail (played with great power and nuance by Dolly De Leon), a toilet manager on the yacht, finds her footing in the circumstances that follow and puts her in a position of power that continues Ostlund’s criticism of society and the way things are.

Throughout the storm sequence, Harrelson’s captain and Buric’s Dimitry drunkenly argue over the ideologies of Marxism and capitalism and all of this now is evidently played out in the third act. Everything that was deemed important in the first two acts have been stripped away. It is in the way people change and how relationships shift and turn in the third act that we can see what it is that Ostlund is trying to do and what he is commenting on.

Photo from ‘Triangle of Sadness’ trailer

Almost invisible in the first two acts, Dolly De Leon’s Abigail takes center stage and the Marxist ideologies start to come to the fore. This movie is all about power and the struggles that come with navigating its complexities. It begins first with Carl and Yaya’s relationships and the expectations of gender roles then branches out to the yacht with all the excesses of the extremely wealthy and their absurd whims. Finally, when you take away all the frills and the luxuries that don’t really matter in the day-to-day of things, priorities shift and new power structures are formed.

Photo from ‘Triangle of Sadness’ trailer

Ostlund’s ‘Triangle of Sadness’ has a way of demonizing and villainizing all the characters who have power. With an ending that is filled to the brim with irony and a final insult to the characters in the film, ‘Triangle of Sadness’ offers us no real solution or catharsis for what we just witnessed because we are being asked how complicit we are to the systems that are in place that makes these inequalities so blatant. To laugh at this (and it is funny) is to recognise the truth of what the film is saying. And we have done nothing.

My Rating:

.

—
Triangle of Sadness is now showing in cinemas nationwide. Buy your tickets here.

November 30, 2022
The Emotional Impact of Cold-Hard Facts: a review of ‘She Said’

I came into the cinema without any knowledge on what She Said would be about. All I knew before coming in was that it was a movie about investigative journalism with Carey Mulligan as one of the leads, who is also gaining a lot of attention for her performance. What threw me for a loop was that the film was based on real events, and ‘She Said’ is the story of Jodi Kantor (played by Zoe Kazan) and Megan Twohey (Carey Mulligan), the two journalists of The New York Times who investigated and published the article on Harvey Weinstein’s history of abuse and sexual misconducted that sparked the #MeToo movement back in 2017.

The film opens strong with Mulligan as Twohey and how she goes head-to-head with then-presidential candidate Donald Trump prior to the 2016 election. She breaks the story on Trump’s misconduct with women and how, despite the reports, Trump still manages to win the election and Twohey’s world starts to get tougher as she and her source receives death threats and the like.

Five months later and we then follow Kazan playing Jodi Kantor who is following up on a story that she picked up about sexual abuse and workplace harassment in Hollywood. As she begins following the threads of the story, it begins to resemble the Harvey Weinstein incident and she calls on Twohey to help her put the story together.

Photo from ‘She Said’ trailer

What is absolutely incredible about director Maria Schrader’s coverage of this story is how devoid of drama it is. Except for one scene that feels scripted and manipulative, a scene between Twohey and Kantor in the middle of the film where they ask each other if they wished they didn’t go through with this story, the rest of ‘She Said’ is just dealing with the facts of the case and the process by which the two journalists and their editorial board at The New York Times went about putting the story together.

Photo from ‘She Said’ trailer

If you remember strongly the Harvey Weinstein case, celebrities and actresses like Rose McGowan, Gwyneth Paltrow, and Ashley Judd were names that were being tossed around this investigation. The film doesn’t shy away from this, representing the real people of this story from Trump, Paltrow, and McGowan to phone conversations with actors who sound very much like the people they are portraying and Ashley Judd, who appears on screen as herself. Part of the stripping down of the film’s dramatic flair, director Maria Schrader keeps most of the real-world stars as voices on a recording or on a telephone and minimizes their close-ups when they do show up (as they did with Ashley Judd). With very little tricky camera work, ‘She Said’ is focused entirely on the stories of these women, especially the women working behind the scenes, whose lives were destroyed by their interactions and engagements with Weinstein.

Photo from ‘She Said’ trailer

Except for one story, almost all the recounting of the acts of abuse and sexual misconduct were told by the actor portraying these women with no flashbacks or cutaways. It’s almost as if these are testimonials and we have to listen to them like a jury. Of the many performances of these testimonials, it is the ones by Jennifer Ehle as Laura Madden, and a spectacularly riveting monologue by Samantha Morton as Zelda Perkins that really shows the power of truth spoken aloud without the need of additional flourishes.

Schrader and screenwriter Rebecca Lenkiewicz (based on the book by Kantor and Twohey) go through the details of the two journalists’ challenges on being able to gather the evidence needed to publish their story. Through every step of their investigation, they uncover horrendous systems in place that protect men in power and silence women. Devoid of over-dramatizing scenes and story points, ‘She Said’ can seem clinical, antiseptic but the cold-hard facts of what is uncovered creates the drama on its own. I was sitting in the cinema wringing my hands and getting angrier with every new testimonial.

Who knew that facts alone could be so emotionally charged?

Photo from ‘She Said’ trailer

Very much like ‘Spotlight,’ this movie revels in the process of investigative journalism. It’s the process, not the emotions nor even the case itself, that ignites the energy of the film and amplifies its theme. What Schrader and Lenkiewicz does, to push the humanity just a bit without going too over-the-top, is to frame both Twohey and Kantor not just as courageous and determined journalists, but also as empathetic women and dedicated mothers as well. It’s these little details – from juggling parenthood and career and the way with which these women empathize with their subjects – that really underscore the issues of this film.

We know this story and we’ve read it in the news. We’ve seen how it ends but seeing the process of it, the details of the investigation, clearly defines our world for the misogynistic and patriarchal world that it was (and still is).

I hope more and more people get to see this film.

My Rating:

.

—
She Said is now showing in cinemas nationwide. Buy your tickets here.

November 23, 2022
Only Two Episodes of the Bite-sized Disney Plus Animated Series ‘Zootopia+’ Actually Hits but It Hits Hard

As Disney+ finally opens its doors to the Philippines, there’s going to be a rush to catch up on all the movies and shows and specials that have not been available to us for years now. They have all types from Disney classics to their latest animated features, to the movies and tv series of the Marvel Cinematic Universe, or if you are a fan of the Star Wars franchise, that will be made available to you too. They even have exclusive Kdramas on the platform like ‘Snowdrop,’ ‘Soundtrack #1,’ and the special ‘In the Soop: Friendcation.’

What might be missed in all this hustle and bustle is a bite-sized 6-episode animated limited series called ‘Zootopia+.’ Based on characters from the 2016 animated film ‘Zootopia,’ the short series (each episode runs only for 7 to 9 minutes long) is set during the events of the movie, showcasing the lives of the different characters – from the arctic shrews, to the weasel that the protagonist Judy catches in the film, to the famous sloth civil servant, and even Gazelle’s dancers – that sort of amplifies the world of ‘Zootopia’ and make it bigger.

It’s an interesting concept as the world of the movie is completely big and new and it could do with a little more exploration. Like many of Disney’s animated films, this series boasts of incredible animation and effects. The world of ‘Zootopia’ is filled with so much texture from the different kinds of animals and their fur and hide (or skin). It really depends on the animal. The amount of work that is put into each individual episode is quite incredible. Even at an average of 8 minutes per episode, it shows the kind of dedication they have to the material.

Unfortunately, not all of the six episodes reach a sort of satisfying conclusion that gives them any sort of weight that endears us to the world nor does it make any interesting dissection of society and culture that the movie does.

Photo from ‘Zootopia’ trailer

Four of the six episodes are centered on a single gimmick or novelty that they bleed dry for the entire short duration of the episode. The first is a frenetic, over-the-top chase sequence between Judy’s parents and one of Judy’s younger siblings who has gotten away from them. It has a cute way of highlighting a married couple who are so supportive of each other but other than that, it really does nothing to make the world feel bigger. In fact, the whole length of the short episode manages to make the world of ‘Zootopia’ feel smaller by how it dramatizes the distance between Judy’s hometown and the city of Zootopia.

There’s a story involving Gazelle and a talent contest that is looking for new back-up dancers and it is just a single punchline that you see coming from a mile away. Another episode is of the sloth, Flash, as a dinner guest in a restaurant and it’s the longest episode at 9 minutes and it goes exactly how you imagine it to. There’s a musical episode with Duke, the Weasel, but while it does touch upon the tempting world of petty crimes, it doesn’t say much and in fact makes light of how difficult it is to find redemption.

Photo from ‘Zootopia’ trailer

There are only two episodes that I felt actually made the world feel bigger, and both these episodes are working on two different frameworks altogether.

One episode features Fru Fru, the arctic shrew is part of a television show called ‘The Real Rodents of Rodentia.’ The show is done ala-’The Real Housewives’ and the whole episode parodies the shooting style, the testimonials and confessionals, and even the shallowness of the reality show. It’s a brilliant little gimmick that’s perfectly played out in 7 minutes but what makes it interesting is how it subverts the form – the reality show – and uses it to talk about something deeper and meaningful; something that relates to the themes found in the original movie. Aside from the gimmick, it’s able to add something to the world and to the lore.

Photo from ‘Zootopia’ trailer

On the other side of that coin, the episode involving Mr. Big, the shrew that acts like The Godfather. Taking its cues from the movie ‘The Godfather,’ it shows us a bit of Zootopia history, and of how Rodentia came to be. It’s a wonderful episode that talks about community and the struggles that the smaller animals in Zootopia face in a city filled with animals of different sizes. This episode makes the world of Zootopia bigger (ironically) by showing us the hierarchies of the city and how these are overcome by a spirit of community. It’s something that relates strongly to the movie but it also opens up the world in many interesting ways.

So, while most of the episodes are really light and forgettable one-joke narratives, the proof of the concept works wonderfully in two of the episodes. While the other four merely serve as distracting content, the two episodes that matter really serve as viable companion pieces that can continue to deepen the world of the 2016 movie.

My Rating:

.

—
Zootopia+ is now streaming on Disney+.

November 21, 2022
Whimsical and campy, ‘The School for Good and Evil’ subverts fairy tale narratives and ask you to question deeper

‘The School for Good and Evil’ presents itself as a fairy tale, complete with a narrator (by no less than Cate Blanchett), magic and mystical creatures, and an adventure centered on true love and friendship. It even goes as far as creating a world where fairy tales are true and that the stories are crafted in a mystical land where students are taught how to be good or evil so that they can create new stories to inspire the world.

While the film, directed by Paul Feig and co-written by Feig and David Magee (based on the book series of the same name by Soman Chainani), is filled to the brim with CGI-heavy moments of sword and sorcery and high fantasy, it also carries a tone that is whimsical, tongue-in-cheek even. It feels purposefully light-weight in its presentation, as if it doesn’t take itself too seriously, which may have been problematic if seen in the cinemas but watching it at home on Netflix gives it the right tonal atmosphere.

Photo: Netflix

After all, there’s never really any sense of danger to the film. The two protagonists, the best friends Sophie and Agatha (Sophia Anne Caruso and Sofia Wylie, respectively), live as outcasts in the village of Gavaldon. Touted as a witch, Agatha is almost attacked in an alleyway but is rescued by her best friend, who lives in a chaotic home with a stepmother who cares not for her and a father oblivious to her troubles. Reminiscent of other fairy tales like Cinderella for Sophie’s home environment or the fact that the two young girls like to frequent a bookshop that’s reminiscent of Belle in ‘Beauty and the Beast.’

When Sophie makes a wish to be a student in the School for Good and Evil, she and Agatha end up there and find themselves in quite a quandary: Sophie, who wishes to be a princess, is left at the School for Evil while Agatha, who didn’t want to go in the first place, is placed in the School for Good. The depictions of good and evil are very one-dimensional. They have uglification classes for the school of evil and, in the school for good, they have classes for beauty, which involves smiling and how to use it as a weapon.

Photo: Netflix

It is actually quite contrived if it weren’t for Agatha’s suspicion that something is amiss. Feig is not afraid to lay it all on thick, with big stars as the professors such as Charlize Theron as Lady Lesso, the dean of the School for Evil, and Kerry Washington as Professor Dovey, the dean of the School for Good. The two big stars, as well as Michelle Yeoh in a smaller role yet manages to pop in every scene she’s in, seem to understand the campy tone of the whole film. They are in on the joke and are having a lot of fun in the process and it amplifies the campy mood of ‘The School for Good and Evil’ but it also underscores Agatha’s complaints about the world.

Because as light and as frivolous as ‘The School for Good and Evil’ can be, it manages to question the morality of this world, the one-dimensional look into the binary of good and bad. In the process, it manages to serve as a sort of criticism against performative acts of goodness and questions deeper into how things are. It subverts the ideas of fairy tales and opens up doors to understanding the gray areas.

Photo: Netflix

While big stars like Theron, Washington, Yeoh, and Laurence Fishburne are having fun playing whimsical, it is Caruso and Wylie who are pushing the deeper thoughts of the story forward. Caruso is delightful as her portrayal of Sophie is one of utter belief in the ideology of the world of fairy tales while Wylie is the opposite, questioning everything and fighting against the facade of the things in front of her. Their chemistry grounds the film because it’s their friendship that is at the center of it all.

Yes, it’s light and easy and doesn’t take itself seriously. But that is what makes it enjoyable. It’s like a refreshing antithesis to the Harry Potter series and the seriousness of its later releases. It’s perfect for younger audiences and it’s not something I wouldn’t mind seeing more of in the future.

My Rating:

.

—

The School for Good and Evil is now streaming on Netflix.

ALSO READ
‘The School for Good and Evil’: Q&A with Stars Sofia Wylie and Sophia Anne Caruso

October 24, 2022
MOVIE REVIEW: The Surprising Non-Western Position of ‘Ticket to Paradise’

‘Ticket to Paradise’ has all the narrative beats, tone, and vibe reminiscent of an early 2000s rom-com, an area with which one of the lead stars, Julia Roberts, is a master of. In fact, if this was made in the 90s, Julia Roberts would have played the daughter and not the mom and it would completely make sense. But it’s now 2022 and Julia Roberts is now playing the mom and there’s a sort of full circle that’s happening here. ‘Ticket to Paradise,’ afterall, is a classic family, generational romantic comedy about divorced parents who fly to Bali to sabotage their daughter’s wedding.

The first thirty or forty minutes of the film was a little difficult for me to get into: we know very little about the characters except that Julia Robert’s Georgia Cotton and George Clooney’s David Cotton are divorced and hate each other. They even choose to live in different parts of America just to ensure they don’t accidentally bump into each other but still do for their daughter Lily, played by Kaitlyn Dever. After her graduation from law school, Lily and her best friend Wren (played by Billie Lourd) take a trip to Bali and 37 days later, Georgia and David are rushing to Bali to stop Lily from marrying a man she met on the island.

Photo: Universal Pictures

Within the first ten minutes, the premise of the story as written above plays out and while Georgia and David’s relationship is firmly established, we know very little about Lily. We are immediately positioned, as the audience, to think that Georgia and David’s calls for a truce just to work together to sabotage their daughter’s wedding is cute or funny. Naturally, my instincts are also against the wedding because my natural inclination is to believe another white, western girl falls in love with a Balinese man (though Maxime Bouttier, who plays Gede, is very charming) and drops her privileged life for an exotic adventure in Asia. It also doesn’t help that the constant bickering of Georgia and David highlights toxic masculine behaviour – interrupting Georgia as she speaks, claiming ownership of ideas that Georgia just mentions, etc – that despite all of Clooney’s charms, it really irks me that his character is the typical toxic man.

Photo: Universal Pictures

Everything about the premise of the first thirty minutes just speaks of Western, imperialist attitudes that had me resisting the movie from the get-go. I didn’t like David nor did I have a good impression of Lily and I was so scared that they were going to make Bali feel exotic and fetishize it; turn the culture and their customs into a joke.

But the moment the movie is in full swing, as Georgia and David begin to put their plans of sabotaging the wedding into action, I started to notice something quite surprising and refreshing. The way ‘Ticket to Paradise’ frames the Balinese culture was done with so much love and respect. Never did they make a joke out of anything that represented Balinese. In fact, as the narrative unfolds, it positions the Balinese culture as sort of superior to western ideals as represented by both Georgia and David. The concept of the tight-knit Asian family is put in full display which perfectly contrasts the lack of communication between David, Georgia, and Lily. Lily’s own decision to live in Bali stems from a need to harmonize with herself and she can do this in the island with Gede and it reflects back on David and Georgia’s own failures in their relationship, which is saddled with the pressures of western ideas of success.

Photo: Universal Pictures

There’s even a subtle touch of the use of the Balinese language. Every time Georgia and David are in a scene and people speak in Indonesian, there are no subtitles. There’s only one scene where this happens but it is used narratively to underline David’s mistake. Another scene involves Gede and his parents having a discussion about the wedding but there are no Americans in the scene and what they talk about, once again, shows off the beautiful family relationship of this Balinese family.

Photo: Universal Pictures

Never in the movie do I feel that there is a joke being made at the expense of the Asians. In fact, the movie subversively puts forward the notion that Georgia and David are the villains of the film despite its tone and genre. The bait and switch occurs because Georgia and David are played by Julia Roberts and George Clooney, both huge global superstars. Of course, coming in you’d think they were the heroes of the story. That mere fact is why I was resisting the film at the start but the moment the true nature of the movie was revealed, I began to enjoy it.

It’s a classic family romantic comedy with a lot of important things to say – about marriage and parenting and life – and it surprised me at how it positions the Balinese culture as something ideal, if not more ideal, than those of western values.

My Rating:

.

—

Ticket to Paradise is now showing in cinemas nationwide. Buy your tickets here.

October 6, 2022
MOVIE REVIEW: ‘The Woman King’ and how it reimagines Africa’s past for a new global cinematic audience

As a person who grew up in the 80s and 90s watching Hollywood movies, there’s something magical and powerful about watching a film set in Africa, whose lead characters are African women, who command so much respect and admiration. Growing up, my idea of Africa had been shaped by the news and by Hollywood and it wasn’t until ‘Black Panther’ that I began to allow myself to think of Africa in a different light. The fact that it took producers Maria Bello, Cathy Schulman, and Viola Davis five years to get the movie greenlit by a major studio and only after the success of the MCU movie changed the way Hollywood would tell stories about Africa in a mainstream setting.

The story, about a general of an elite army of women warriors, is based on true accounts. The Agojie served as the inspiration for the women warriors the Dora Milaje of ‘Black Panther’ and were the elite forces of the king of the kingdom of Dahomey, which really existed for around 300 years. The fictional general, Nanisca (played by Viola Davis) must train a new generation of Agojie warriors while observing how the war between African kingdoms was fueled by the slave trade brought in by the Europeans. As Nanisca discusses geopolitics with her king, King Ghezo (a real-life figure and played with great charisma by John Boyega), Nawi (a new recruit and played with great depth and power by Thuso Mbedu) learns the ways of the Agojie.

Photo: Columbia Pictures

If anything, ‘The Woman King’ is a straight-up epic action film, which many critics have likened to films like ‘Gladiator’ or ‘The Last of the Mohicans’ except with black women. There is ample time spent to establish the setting of this story – West Africa in 1823 – and impressing upon us the complex relationships between Nanisca and King Ghezo and Nanisca and the Agojie, most notably her closest friend Amenza (played by Sheila Atim). Nawi befriends her other new recruits as well as the veteran warrior Izogie (played by a scene-stealing Lashana Lynch) as they prepare for war with the Oyo Empire, who has been capturing the Dahomey people to sell as slaves to the Europeans.

Photo: Columbia Pictures

There’s a good mix of story, action sequences, and just a general feast of the visual imagery of a prosperous African kingdom and a band of highly respected and feared warrior women. Honestly, I’ve never seen anything like it before on the big screen and I was just sitting in my seat in the movie theater transfixed to the screen and enjoying every minute of it.

The film never strays away from the issues of women – sexual assault, oppression, forced marriages – and it’s great to see the women fight back in such a ruthless and brutal manner that was so befitting of its time period. Director Gina Prince-Bythewood, who had directed ‘Old Guard,’ does an amazing job at balancing both the emotional elements of the story (that Davis, Mbedu, and Lynch have moments that can really pull at the heartstrings even if this is an action film through and through) and does splendid coverage of the battle sequences. You see the power and the speed of the movements. It’s beautiful in its ferocity.

Photo: Columbia Pictures

What it also manages to put into perspective is how the Europeans and the Americans have pit the African nations against each other by trading guns and wealth in exchange for African lives in the form of slaves. While there are historical inaccuracies depicted in the film regarding King Ghezo’s thoughts about slavery, what the film positions is that what has happened in the past was a travesty with unimaginable consequences. It resonates even until the present day as we see the sort of racial discrimination that is still happening in the US and for the mere fact that depictions of Africans like it has in the films ‘Black Panther’ and ‘The Woman King’ are very few and far between (and if there are, not as commercially available).

Photo: Columbia Pictures

Representation matters because what we see in the cinema (or on the news) really becomes our only window to imagine what the rest of the world would look like or feel like. Without films like this, we’d always think of Africa as a struggling continent that needs “the white man’s help” even though history has told us that the west came and turned the continent over its head for its resources. While ‘Black Panther’ can help us imagine what an Africa undisturbed by Western imperialism could look like, ‘The Woman King’ can help us imagine what Africa may have been like before France colonized the Dahomey kingdom in 1863.

There are no white saviours in this story. And while this is a story about slavery, it’s not finding entertainment in the victimization of the African people but celebrating their fight against it. This is Africa – and African women – put front and center and if this is the trend of the kind of movies we will have moving forward then I’m so excited to see what other films we will get to see after this.

My Rating:

.

—

The Woman King is now showing in cinemas nationwide. Buy your tickets here.

October 6, 2022
Surprising at every turn, ‘Decision to Leave’ masterfully merges the genres of the crime thriller and romance

The way that director Park Chan-wook plays around with genre conventions in his latest movie, ‘Decision to Leave’ shows off his mastery of the medium of film. The film is equal parts a crime thriller as it is also a stunning romantic drama but is also loaded with a certain dead-pan, dry sense of humour that is filled with irony and even cynicism. With great use of brisk and flashy editing techniques that makes the 138-minute running time fly by unnoticed, stunning cinematography that plays with your head with its unusual framing and gorgeous lighting, and a script never fails to twist and turn in surprising ways, Park Chan-wook delivers another mind-blowing experience at the cinema.

While other critics have said this is not on the same level as his previous works like ‘The Handmaiden’ or ‘Oldboy’ and while I can see where they are coming from, even his lesser work is better than most filmmakers at their best.

‘Decision to Leave’ is a crime thriller about a police detective who falls in love with the widow of a man who fell off a mountain while mountain climbing. As Hae-joon (Park Hae Il), the police detective, investigates the cause of death, he begins to obsess over Seo-rae (Tang Wei), the Chinese widow of the fallen mountain climber as he discovers that she was a victim of domestic abuse and her marriage to the victim may have been one of convenience. From widow to prime suspect, Hae-joon finds himself attracted to Seo-rae, even though he’s married.

Photo: Decision to Leave trailer

At every turn, the film jumps back and forth between a murder mystery and a dark love story. Director Park Chan-wook masterfully uses match cuts and jump cuts to play with time as Hae-joon’s affections for her builds up and gets stronger through the investigation. There’s a terrific scene where the detective is watching the widow with a pair of binoculars as she is working and in a sudden cut, he is in the room with her, unseen, and is close enough to touch. Through Park’s direction, Hae-joon is present in Seo-rae’s day-to-day affairs through his imagination, or maybe it’s Seo-rae who is present in all of Hae-joon’s thoughts.

What’s interesting about this film is that, while mixing the genre of crime thriller and romance, the film never attempts to pass judgment on its characters. Yes, Hae-joon is committing some level of infidelity, though they never consummate it. In fact, his wife Jung-an (Lee Jung-hyun) is aware that they are not in love but she’s committed to the marriage nonetheless.

Photo: Decision to Leave trailer

What it paints is a picture of a policeman who is only passionate about his work – he has a wall filled with photos of the cases he has yet to solve, which may be the cause of his insomnia – and maybe that’s also the reason why he seems infatuated with Seo-rae. She’s the job. Is she a killer or is she a victim herself? And what will happen now that Seo-rae seems very much open to the affections of the detective?

As the story unfolds, we become witnesses to a dark and dangerous aspect of love – of its capacity to blur the lines between what is right and wrong and to muddle our priorities and our own well-being – and that when framed within the context of crime and murder, love leaves no space for justice. Like this movie and story beats that push it forward, love is merciless in how it makes demands from us all.

Photo: Decision to Leave trailer

The film’s tone is dark and foreboding – there’s very little joy in this love story – but it is also oddly comedic when taken as a whole. The ending is ironic, which is the natural state of the world, according to screenwriting guru Robert McKee, and it’s why I find that there’s a dark humour to this film. The way with which Seo-rae (through the wonderfully layered and nuanced performance by Tang Wei) is so resolute in her choices, her total dedication to the decisions that she makes and the way by which Park Hae-il embodies the stoic Hae-joon, where he almost seems like an involuntary agent in this farce, that I couldn’t help but smile at the end of the film. I didn’t like these characters and it was such a sordid and strange situation to dramatize but I couldn’t stop watching. The acting was impeccable, the direction was so masterful, and by the end of it, I was just swept away by all these thoughts about how merciless and demanding love can be.

It’s not as explosive as ‘The Handmaiden’ nor is it as shocking as ‘Oldboy’ but ‘Decision to Leave’ will stay in my head for a very long time.

My Rating:

.

—

Decision to Leave is now in cinemas nationwide. Buy your tickets here.
Homestream image from the TIFF website.

September 29, 2022
Frightening by Overindulgence: a review of ‘Smile’

Everything scary about director Parker Finn’s ‘Smile’ is in excess: the camera work, the musical score, and sound design, the jump scares, the slow-burn exposition. Considering this is Finn’s directorial debut, he shows a lot of promise in his understanding of how to frame a sequence and how to create tension and to elicit dread and fear but what he now needs to learn is restraint.

‘Smile’ is about a psychiatrist, Dr. Rose Cotter, who meets a patient suffering from a paranoid delusion about a sinister entity that plays tricks on her mind and threatens her with her own death. During their first session, Rose witnesses the patient kill herself, and what she diagnosed as a paranoid delusion turns out to be very true and now this being is haunting her. In the midst of determining what’s real and what’s fantasy, Rose begins to unravel and her own past traumas return.

Photo courtesy of Paramount Pictures

The film is long, running at almost two hours, and while there’s a lot of story to cover – Rose’s past traumas and how it has affected her present-day life, how the hauntings of this entity are affecting her relationships, the formulaic story point of her uncovering the history of this malevolent spirit – it still could have been shorter if the director, who also wrote the screenplay, didn’t draw out all the scary moments of the film.

Oftentimes, the point has been made but instead of moving further into the story, he’ll add another scary moment, as if he’s trying to reach a quota. It’s relentless and it gets exhausting at some point as it starts to feel repetitive.

Photo courtesy of Paramount Pictures

And it’s a shame because there’s a lot of good filmmaking involved in ‘Smile.’ There’s a really good use of extreme close-ups on the face of Sosie Bacon, who plays Rose, and we get a very intimate view of her character’s unraveling. It creates a sense of claustrophobia, where, as the audience, you want the medium shot or a long shot just so that you can see the extent of the danger that she’s in. There’s a good interplay of silence and sudden loud noises, of a vibrant musical score that really amps up the tension of the scenes. If these elements were used sparingly, it would have a stronger effect on the movie as it paces us along with the narrative.

Photo courtesy of Paramount Pictures

Instead, as it keeps coming over and over again, we stop focusing on the story and just psych ourselves up for another scary moment.

Interestingly enough, the film uses trauma and mental health as the fulcrum by which the whole story operates on. While a lot of psychological thrillers or even psychological horror films used mental health as a reason for the death and destruction, in ‘Smile’ it becomes both a weapon and, maybe, a path to salvation. Discussions about mental health are always welcomed, especially when it’s done correctly, but to use it in this horror film, and in such a blatant way, somehow reduces the supernatural aspect of the film by quite a bit.

Photo courtesy of Paramount Pictures

What makes the supernatural so scary is how mysterious and unscientific it is and can be, and by framing this creature’s motives and processes through mental health makes it feel less believable and more made up than it already is.

There are a lot of good things in the film – use of close-ups, use of crazy camera angles to show the growing deterioration of Rose’s mental health, excellent mix of quiet moments and loud scoring and sound design to amplify a mood – but all these individual elements don’t really add up to a strong horror film. It’s fun to watch with friends for a laugh but it’s not going to stay with you like other horror movies.

My Rating:

.

—

Smile is now in cinemas nationwide. Buy your tickets here.

September 28, 2022
MOVIE REVIEW: ‘Don’t Worry Darling’ is telling us to worry and that nothing is what it seems

From its opening scene, Don’t Worry Darling is already telling you something is wrong with this picture. And it’s a happy moment: the film begins with a wild, drunken revelry between three couples in what seems to be an image of the ideal 60s American life. They are drinking, dancing, teasing each other. They are young and beautiful and seemingly madly in love with their respective partners. In fact, our leads Alice and Jack (Florence Pugh and Harry Styles) can’t seem to get enough of each other, kissing and having sex at every opportunity. But something is off and Alice is beginning to take notice.

The filmmaking, with Olivia Wilde in the director’s chair, is visceral and luscious – from its cinematography, blocking, choice of musical score, and the performances of the majority of the cast – and gives you a building momentum of dread. Something is very wrong in this picture-perfect representation of the American dream. Every so often, there’s an earthquake and the women react almost by reflex in ensuring their drinks stay stable and nothing falls to the floor. The men leave for work in an almost synchronised exit in their shiny Cadillacs or whatever fancy car model they have in that era. The musical score of John Powell is intricate as it is eerie. Its haunting melodies are created by vocals and even rhythmic breaths, sometimes a drone sound of fuzzed bass or a sudden explosion of violent strings. It’s intrusive. It punctures the visuals and it really gets you going. Oftentimes, the score is designed so that you think it’s diegetic, that it is part of the scene and then you realise it isn’t and it adds to the atmosphere.

Courtesy of Warner Bros. Pictures

Wilde does an amazing job at instilling a sense of dread and danger in every moment of ‘Don’t Worry Darling,’ subverting the whole idea of the ideal 60s concept of Americana – the white picket fences, suburbia, the glamorous 60s – but Wilde ends up showing how hollow it really was; that it is nothing more than a frightening veneer covering up something dark and twisted and horrible.

Courtesy of Warner Bros. Pictures

The narrative unfolds like a slow-burn horror film, with moments of genuine weirdness that remind you something is amiss. From the get-go, you know this film is centered around the issues of women. This time frame positions women as the support system of the men as they go through their daily work. We know this is sexist, that this world is sexist, and just like Alice, we start to question the very fabric of this world’s reality. What is this Victory Project that the men are working on? Who is Frank (played by Chris Pine), this charming figure who leads this community and everyone seems to be so enamored with? What will happen to this couple as Alice becomes more and more certain something is wrong as Jack seems to be climbing the ladder to success?

Courtesy of Warner Bros. Pictures

The feminist themes are apparent. The film explores and dramatizes the idea of control, of gaslighting, and questioning the role of women in a marriage and in society. It can feel heavy-handed as the film is centered mainly through Alice’s point-of-view and this is all that she sees but it’s interwoven so intricately into the entire concept of the movie that I don’t mind it. These are issues that are still relevant to this very day and age.

Courtesy of Warner Bros. Pictures

Florence Pugh channels her character from ‘Midsommar’ and then takes it to a different level in ‘Don’t Worry Darling.’ She’s a wonderful anchor for this movie as she can make this sense of paranoia into something so palpable and it makes her reactions so believable. In a way, she plays off so well with Olivia Wilde, who plays an exuberant neighbour, someone who is completely sold into this world; and also with Gemma Chan, who plays the wife of Frank, who contrasts the two women through stillness and silence. These three women show off a range of layers in various ways that it’s great to see them work. It layers the movie wonderfully by showing off a dynamic range of women characters.

Courtesy of Warner Bros. Pictures

And for the men, it’s Chris Pine who steals the show. As mentioned above, he’s magnetic and charming, maintaining a hint of the sinister behind an easy smile while expertly delivering stirring monologues that, when you really think about it, says nothing specific or substantial at all. This adds to the mystery that the film is working towards.

Courtesy of Warner Bros. Pictures

And the big reveal is my only real gripe in ‘Don’t Worry Darling.’ Once uncovered, there’s an element of it not being equivalent to the build-up that happened. It’s a bit mundane, maybe even a little cliche. The big revelation is not as clever as it could have been. The experience that you get through only to find out that it’s that is a bit of a letdown for me. There’s so much creativity and imagination in the first hour and a half that the ending feels like they ran out of steam.

But it’s a tiny gripe since the overall experience of watching this film is so good that I can forgive the banality of its ending.

My Rating:

.

—

Don’t Worry Darling arrives in cinemas nationwide this September 28. Buy your tickets here.

September 27, 2022
The documentary ‘Fanny: The Right to Rock” is a big middle finger to sexism, racism, homophobia, and ageism

The band Fanny is marketed as “one of the most important rock bands you’ve never heard of,” and the hour-and-a-half documentary ‘Fanny: The Right to Rock’ by Bobbi Jo Hart manages to trace the all-women rock band’s rise and unfortunate fall into obscurity during the rock music scene of America during the early 70s. Needless to say, in the 60s and 70s, rock music was the territory of men. There were women who fronted bands but there were no rock music groups where all the members were women, playing instruments, and proving they were just as good with their instruments as any man. But Fanny did not just have to come head-to-head with sexism, they had to go against racism and homophobia as well as two members were Filipina Americans and some were lesbians.

But the documentary is not just a historical review of the band’s beginnings and struggles to be taken seriously, it also examines their talents and their impact in the industry – Fanny paved the way for women in rock – through interviews with rock luminaries to contextualise what it was they were able to accomplish amidst all the criticisms and pushback against an all-women rock band.

But writer and director Bobbi Jo Hart doesn’t stop there. The power of this documentary is how the historical review of their struggles to change the industry is used to frame the present-day narrative of how three of the original members have reunited to try and pick up where they left off as women in their 60s.

In a way, the documentary is operating within two timelines – the past and the present – and how both are interacting to underscore that their story as a band has not yet ended. There is still a future that is hinted at through this documentary and it makes for a riveting watch.

For a documentary to really stand out, one needs access; access to the subject of the documentary and the people around them. Hart has this in droves. All the members, past and present, are available for interviews except for one. Industry insiders include musical legends Todd Rundgren, Bonnie Raitt, The B-52s Kate Pierson, The Go Go’s Kathy Valentine, Def Leppard’s Joe Elliot, and David Bowie’s guitarist and bassist, Earl Slick and Gail Ann Dorsey. In fact, though he had passed away already, David Bowie’s presence is strongly felt as he was a champion for Fanny and constantly rallied for their recognition for their artistry. The documentary has various accounts of their beginnings, home footage of their performances in gigs and television shows, and photographs of their lives in LA when they just signed their record deal. Very little is left to the imagination and what is built is an image of a band that could have been, who paved the way for women in an industry that was not forgiving, who were not recognised for their talents and creativity, and how they eventually vanished and erased until recently.

Filled with songs from the five albums they released before they disbanded, it really highlights how good they were and with footage of them aging beautifully and still as sharp and as skilled as ever, it creates an energy and an excitement with this whole idea of them coming back together, recording an album, and adding ageism to the many barriers they’ve taken down in their journey to reclaim what could very well be their destiny.

The documentary manages to highlight how Fanny, and their resurgence in popularity is a testament to this need to battle and fight all forms of erasure, whether it’s sexist, homophobic, racist, or ageist. These women have stood against it and almost overcame it over 40 years ago but just missed out on success as they were on the brink. But this documentary chronicles their second chance and lays the foundation for a new future for the band.

It’s eye-opening and inspiring. It’s funny and daring and touching. It’s a great, good-ol’ rock and roll story and I do hope people get to see it.

My Rating:

—

Fanny: The Right to Rock is now showing in cinemas nationwide. Buy your tickets here.

September 7, 2022