Just A Little Bit Random

Top Ten Films Of 2022

2022 has been an interesting year in terms of what audiences have flocked to, and what has dominated the conversation. While, of course, the standard blockbusters were a point of major discussion a number of indie and foreign language titles garnered much praise and attention throughout the year. The likes of RRR had as much spectacle (and masses more madness) than a number of Marvel features, and The Worst Person In The World had many of us wanting to run freely down the streets. Even All Quiet On The Western Front and Decision To Leave, both with support of streaming services, received plenty of attention.

And while we saw multiple new additions (one particularly better than others) to the rise in Pinocchio adaptations in recent years original films continued to earn a spotlight. From indie hits such as Everything Everywhere All At Once and Aftersun to the grand scale of Nope and The Woman King. Many of these triumphing over the rise in ‘legacy sequels’ such as Hocus Pocus 2, Scream, Disenchanted, Halloween Ends(ish) and Jurassic World: Dominion(ish) – of course, Top Gun: Maverick and Chip ‘n Dale: Rescue Rangers stand far apart from these.

It’s been interesting to see what has and hasn’t quite resonated since cinemas have reopened after/ in the wake of the pandemic. We’re still up for a all-out biopic such as Elvis, and superhero films (alongside James Cameron’s return to Pandora in the long-awaited Avatar) certainly proved to bring in an audience, alongside revived murder-mysteries such as Glass Onion and See How They Run. And yet amongst all these good, strong storytelling and drama still bring in the viewers. Yes, a number through the streaming push but plenty more through the strength of word-of-mouth and the cinematic push.

2022 has certainly been a year of variety in terms of releases and what we’ve found escape, and general favour, in. There are a number of films I wish I could have found a space for in my eventual top ten that had plenty of discussion when released (Good Luck To You, Leo Grande, Men, Moonage Daydream), and some throughout the year (Everything Everywhere All At Once, Nope, After Yang), while others perhaps went slightly under the radar, or seemed to quickly disappear (Three Thousand Years Of Longing). Regardless, while I’m rather confident with my top four the rest of my top ten, while fairly solid – at least in my opinion as I write this – took a bit more work in getting ‘right’/ confident enough to send this. So, without anymore rambling, as it stands at the moment, here are my top ten films of 2022.

10. Aftersun

An intense, worry-fuelled panic attack the first time you watch it, an emotional wipeout the next. All revolving around the wonderfully natural central performances of Paul Mescal and Frankie Corio. The true power of Aftersun is in all its subtleties, constantly working in the background of the deeply-contrasting surface layer.

While the images you watch largely make up a calm, relaxing holiday between father and daughter writer-director Charlotte Wells quietly weaves a set of finely constructed personal dramas and hints throughout the film that causes you to worry for both the main characters. Initially a fear that something bad will happen to either of them at any second, despite the calmness that’s display on screen, and then an emotional gut-punch as you witness the cracks and distance in their relationships. A grown daughter shrinking to the form of the smiling child she once was in the constantly flashing lights of a nightclub as the camera falls is one of the most devastating shots of the year.

There’s plenty to consider and witness on repeat viewings as the holiday becomes something very different for both characters. Either way you never quite want to see someone go past the airport terminal gates as you worry for where the road may take either character. All thanks to the details, the strength of the unspoken elements, which have been layered and carefully placed at certain stages over the course of the narrative to make sure that your engagement and connection with the events makes for the biggest impact possible. Debuts don’t come as emotionally complex as this.

9. Cyrano

There’s plenty of detail within the set and costume design of Cyrano which helps to bring you into the finely crafted world of the film. However, perhaps the most engaging factor is the screenplay itself. Musicals, as the name implies, are often very much about the music, the songs. Yet, Cyrano appears to prioritise the dialogue in-between to truly show the passion for and effect of words from and on the various characters. Each tone is well captured in the various conversations throughout the film, and indeed the performances – particularly a fantastic award-worthy Peter Dinklage – from the fast-paced exchanges which open the film to the more gradual back-and-forths of confessions of love which develop over the course of the narrative.

A truly cinematic sense of theatricality often takes centre stage in a number of the musical numbers – it feels particularly fitting that many of the opening events take place in a crammed theatre. It echoes into the interactions between each character while never feeling as if things could easily be played out on the stage (especially with the film itself being based on a stage musical). This tone and style helping to push the emotions which are present in the developing relationships and allowing for greater engagement with elements such as battle sequences and songs – not to mention Ben Mendelsohn relishing chewing up the scenery with a truly delicious musical number, and performance, lined with threat and malice.

There’s plenty crammed into the sometimes mesmerising course of Cyrano. Unashamedly allowing its story to tell itself and be itself it embraces its elements and theatricality and puts it into each element without allowing for things to go too far or feel too much. Instead, it’s embraced and understood by those involved and spread across the various production details and visual style which helps to keep you further involved in the events, musical numbers and all-important dialogue.

8. Hustle

Hustle is perhaps the film that’s grown on me most throughout the year. I certainly liked it very much on first seeing it, however the more I’ve thought about it, and indeed after revisiting it I feel there was almost a point of me not quite understanding just how much I enjoyed it. Yes, it may be a somewhat conventional not-quite-underdog sports story, but it’s a very well told one at that.

The key point that engages you within the events, and key sporting action, is the fact that the characters themselves – namely the leads of Adam Sandler (who is brilliant in the central role) and Juancho Hernangomez – are so likable. You quickly engage with them, particularly thanks to the strong chemistry between the cast, and find yourself caught up within their arcs and the handful of dramas that make up the run-time. When mixed with the energy that’s created within the montages and training sequences you don’t just get caught up within the flow of events but also the sense of warmth which becomes present between the central pairing.

Most elements manage to just click to bring you in and keep you engaged within a story that, while familiar, creates an energy and lightness which invites you in to want to see the characters succeed and allow for a film with an equally entertaining nature on a rewatch. The elements simply click and work creating a very enjoyable film which rises above some of its conventions thanks to some of the simple character details and bonds present not just between Sandler and Hernangomez, but those around them.

7. Bodies Bodies Bodies

The best screenplay of the year, Bodies Bodies Bodies is smart, funny and never forgets to balance its blend of genres to bring in effective tones of mystery and horror. This is a film which successfully speaks to its Gen Z audience without ever feeling condescending or as if it’s trying too hard or simply being misunderstanding. Bringing in other audience groups through its sharp satire there are plenty of laughs to be found throughout the fast-flowing narrative.

In a similar vein to the fantastic Ingrid Goes West this is a truly modern film which understands who its representing and trying to speak to most. How well it ages will have to be seen – however, like Eighth Grade from a couple of years ago it may prove to be a time capsule of the moment in which it was made with still as much effect. Regardless, for now there’s a lot to like about just how well Bodies Bodies Bodies gets across what its points and captures the rising tension within the central location in which the events unfold.

Helped along by highly energetic performances from the excellent ensemble cast, cast and crew give something of a knowing wink to the audience as the words “every time we play this game it gets ugly” are spoken. Cue the deeply entertaining chaos and fear of the various characters trapped in an expansive house with no power during a hurricane.

Yet, perhaps where writer Sarah DeLappe and director Halina Reijn truly show their success is in the way they that they treat some of the more serious topics. Not bogging the film down in them, but making them a key point of the characters and tackling personal issues and relevant points with a respectful openness which feels natural and further reflective of the audience it wants to capture and get across, while not dampening the brilliant satire for other audience members.

6. Boiling Point

Boiling Point’s strong fluidity doesn’t just come from its one-shot style but the consistently escalating tension which relentlessly builds up throughout. Perhaps the most stressful film of the year you’re thrown into the rising heat of the open kitchen – allowing for the agitation from the tables to flow more easily into the prep areas.

Waiters, cooks and bar staff are all followed with ease with no clashes in focus as everyone is a part of the mix displaying the intense stresses that each of them face. From trying to keep track of allergies on an overbooked night to the presence of TV chefs and fussy ‘Insta-pillocks’ there’s so much going on that there’s only really one occasion where it feels as if the camera briefly drifts away so everyone can take a breather while it’s not facing them. Yet, it’s obvious that the characters haven’t taken a breather themselves as their rage rises in the face of poor management and even worse customers.

The team effort of the staff is reflected in the strong performances of the ensemble cast – brilliantly lead by Stephen Graham and Vinette Robinson. They drive the film and the stirring emotions and dropping veils which make up part of the thick, tense mixture which the film is made of. One which throws you directly into the restaurant for a truly stressful, intense piece of work which feels boosted by its core technical one-shot element rather than constructed around it.

5. The Northman

With The Northman Robert Eggers solidifies himself as a master at creating atmosphere. Both visual and audible its thick within his latest feature which acts as an intense Viking roar of a film. There’s a genuine fear factor which forces you back in your seat as a fire-lit chant leads the camera to push towards Alexander Skarsgård’s enraged face. Scarred, dirty and vengeful he reflects the tone and style of the film as a whole, equally matching the intensity of the blood-splattered attack sequences with just his screams.

There are reminders throughout the film of Eggers’ debut The Witch, perhaps down to the idea of myth and folklore. However, The Northman dives into the ferocity and savagery of its characters and setting through the pouring of bloody in muddy plains making sure the viewer feels a part of the film through the authentic look and feel of the situation which the central figure finds himself in, all to get revenge for acts that threw his life off course as a child. There’s no denying just how effective it is in bringing you into the dark drama at play. You’re consistently reminded of the narrative and Skarsgård’s motives through the events of the run-time and the mysticism which lies within them.

Mysticism which brings to mind questions of whether certain instances are dreams of reality. Particularly in otherwordly sequences where the colour drains, and in particular when we meet Björk’s seeress. Everything combines to create a brutal, loud, cinematic, and occasionally terrifying, bellow of atmosphere with plenty of visuals, and sounds, outside of the effective gore made for the big screen.

4. Glass Onion: A Knives Out Mystery

Like the first Knives Out film played with the idea of hidden rooms and the central house being like a Cluedo board, Glass Onion sees writer-director Rian Johnson gleefully tinkering with puzzles, games and riddles. However, even more playfully he creates twists and turns based around the fact that he knows the audience is playing along from the very start. Using their engagement and guessing from the start of each characters’ introduction, and pointing this out along the way, for a real effect.

A murder-mystery that’s all about the audience experience. The gasps, the laughs – there’s an argument to be made that Glass Onion could perhaps be an out-and-out comedy with just how funny it is – and the responses to many of the reveals and developments are made for an audience to experience on the big screen, with plenty to enjoy on re-watches. Both in terms of the characters, each of whom are well-detailed and led by a superb Daniel Craig who is clearly enjoying his time as Benoit Blanc, and the various clues, details and red herrings which pop up throughout.

Johnson and co have constructed an excellently consistent mystery which keeps you guessing throughout and uses that fact for its benefit, pointing that fact out to you along the way. It just makes for a more enjoyable, and increasingly clever, ride stemming from the excellent screenplay. Just a brilliantly detailed piece of work perhaps on par with the original. (Plus, one of the best cameos of the entire year (see also, Spirited and Everything Everywhere All At Once)).

3. Clerks III

The Clerks films have always been highly personal pieces from Kevin Smith. Each looking at his career and life at that particular stage. With Clerks III he does this once again but also looks back with a hint of emotion. It’s clear how much Dante (Brian O’Halloran), Randal (Jeff Anderson) and the Quick Stop have meant to him and that comes through as this latest film from the writer-director sees the pair, and the supporting cast, trying to make a film about their lives in the convenience store after Randal suffers a ‘widow-maker’ heart attack similar to Smith’s a few years ago.

While not all the emotional beats entirely click the frequently laugh-out-loud humour is enough to lift things up and make for a highly entertaining piece of work. Echoing throughout in the various tones is the continuing sentiment that “this job would be so much better if it wasn’t for the f*cking customers”. However, here it’s acknowledged that it also wouldn’t be the same without the f*cking customers. It’s an idea which has echoed for 28 years in these films and the minds of the central characters, who (mostly) have found themselves stuck in the same place that entire time, knocked down and stopped from progressing at every possible opportunity. It all makes for a wonderfully funny return to the Quick Stop. A far from inconvenient assurance that they are very much still open.

2. The Bob’s Burgers Movie

This is perhaps the 2022 release that I’ve seen the most (and may have provided most of the UK box office for). Having never seen the original TV series, or any advertising, in the build-up to my first viewing I wasn’t sure what to expect. What I saw was the funniest film of the year. A hilarious, laugh-out-loud funny breeze of summer joy from start to finish.

It’s clear that the cast and crew all care about these characters with them seemingly having made the transition from the small to big screen with little change or issues. The Belcher family, and indeed those around them, each have their own distinct personalities which come through with ease and help to create much of the humour. Even after multiple viewings I’m still noticing new jokes, and still laughing at some of the same ones just as much as I did the first time around. In many ways The Bob’s Burgers Movie is probably the biggest surprise of the year for me.

Flying by as it follows the kids on their own adventure while the parents worry about saving their business when a sinkhole opens up outside of it, with a skeleton inside, neither strand feels tangled as things converge and perfectly play alongside each other. Again, coming back to that character detail and how well the circumstances seem to just fit the central family, and the regular customers and faces within the restaurant. Yes, I’ve found it endlessly funny each time, but, perhaps more importantly, I just loved it.

1. The Batman

While I was looking forward to it I can’t say that I was necessarily expecting The Batman to be my best film of the year going into it in February. However, I was truly taken in by its taking Batman back to his detective roots with a dark thriller. The slow-burn nature matches the more grounded take on the classic character and allows for the various details of the cat-and-mouse between Robert Pattinson’s character, the police (primarily Jeffrey Wright’s Lieutenant Gordon) and Paul Dano’s Riddler.

Yet, while the narrative pans out in this way there’s plenty of fast-moving action in the likes of swift, heavy punch-ups and, of course, that stunning car chase! It all combines to create what feels like a fresh take on the character – at least after the last few years of grit. Perhaps thanks to the mystery which surrounds the titular figure as even he is still trying to work out who he is, and where Bruce Wayne fits into his life, and vice versa. Alongside Zoë Kravitz’s Selina Kyle/ Catwoman the pair match the determination and boldness that the film aims to have and indeed all three reach those heights rather well -especially the film.

At almost three hours long the run-time flies by thanks to the thrilling air which flows throughout it. Each character and their actions help to push the events along in a true investigative style further enhancing the detective line which runs throughout, which, of course, has its various clear filmic links and inspirations.

There has been criticism of the third act and the directions in which it goes, and I must admit that, while I can understand the issues that people have with it and see why it might seem like an aside from the rest of the film/ tonally very different, however for me it worked just as well as what comes before it. Thanks to the exposition of the Riddler and what we’re shown about him, and also the Gotham that co-writer (alongside Peter Craig) and director Matt Reeves have created, alongside the production team who help provide it with its visual style; not to mention the cinematography of Greig Fraser and Michael Giacchino’s score (that theme did quite a lot). Overall it all combines to create a brilliantly told detective thriller with some equally great action sequences throughout. I certainly didn’t expect it to be, but even after a couple of rewatches at various points, The Batman is my personal best film of 2022.

LFF 2022: Women Talking – Review

Release Date – 10th February 2023, Cert – 15, Run-time – 1 hour 44 minutes, Director – Sarah Polley

After a series of severe sexual assaults a group of women discuss whether to leave or stay in their Amish commune.

Amongst the various moments of shock within Women Talking is perhaps the reminder of the outside world, and the sense of hope that it provides. Much of the film takes place within the confines of the upper level of a barn within an enclosed Amish community. The conversation between the various women of the community is interrupted with a jolt as the thoughts of conflicting hope and fear truly begin to circle round their minds, and those of the audience. The purpose for their meeting is to decide whether to stay in or leave their commune after a series of severe sexual assaults and abuse from the men. Determination and worry flies around the space as thoughts and opinions conflict not just from person to person but personally for some characters. Do they stay and do nothing, continuing to be abused and mistreated, or do they leave into an uncertain, unfamiliar world they’ve never properly encountered.

We’re promised in the opening titles that “what follows is a fiction of female imagination”. One which feels carefully considered and constructed having been developed for some time. Largely coming through in the dialogue of writer-director Sarah Polley’s screenplay (adapted from Miriam Toews’ 2018 novel of the same name). It’s also thanks to Polley’s direction that things manage to avoid feeling as if they might as well be played out on the stage. It’s in some of the asides outside of the integral barn, the glimpses of the children playing outside and indications that this discussion can’t just be kept within the assigned meeting space.

The dialogue is finely delivered by a strong ensemble cast, with Rooney Mara, Jessie Buckley and Claire Foy being particularly prominent – Foy especially seems to be going for an Oscar. As things come together and properly start rolling after seeing the vote which leads to the discussion occurring in the first place (when its result ends in a draw) it’s the performances that act as the initial continuing hook as the characters themselves try to find a starting place. However, once the initial point is brought up things continue rolling for the duration of the film. Occasionally you may wish for certain points to be looked into a bit more, however there’s no denying the focus that the film has in the direct manner in which it tells its story, including in the moments that don’t at least have a spoken debate being seen and heard.

The direct method helps to keep track of the many points and opinions which are brought up in the 104-minute run-time. It’s shown just how much has been covered in the final stages as where, while feeling slightly busy with having to wrap multiple elements up, certainly manages to have an impact, making the most of the setting and environment outside of the barn while still keeping a sense of control. There’s a lot to engage with along the way in the build-up to these events, and indeed this might be a film that rewards a re-watched for the dramatic push that it holds and just how much it covers. Especially when it comes to the way that it uses the external environment and how actions on the Amish land, outside of the barn, impact the debate within the confines of the core building. It’s quietly and effectively done and you almost don’t notice it. Adding to the overall push of the engaging drama which plays out within the strong performances of the ensemble cast who truly capture the words and elements of Polley’s screenplay.

There’s a lot going on within Women Talking, and what truly lifts it, bringing the feeling it’s made for the screen, are the asides of the external environment. Lifted by Polley’s direction and a strong ensemble cast a re-watch may bring even more to engage with and witness in this highly considered drama.

LFF 2022: She Is Love – Review

Release Date – 3rd February 2023, Cert – 15, Run-time – 1 hour 20 minutes, Director – Jamie Adams

When she arrives at the hotel run by her ex-husband’s (Sam Riley) girlfriend (Marisa Abela), Patricia (Haley Bennett) confronts the downfall of her relationship in a drunken evening with her former partner.

“I’m aware of how acutely uncomfortable this situation is” Sam Riley’s Idris downplays the awkward circumstances to his hotel-running girlfriend Louise (Marisa Abela). The ‘situation’ at hand is Idris’ ex-wife Patricia (Haley Bennett) arriving at the hotel for a brief stay. While he tries to escape through his music blasting through the halls, and Louise hassles bookkeeper Kate (Rosa Robson), his mind continues to call back to the fact that Patricia is wandering the corridors and staying in ones of the rooms in the same building. It’s not long until the pair find themselves confronting their past relationship and where things went wrong – with perhaps more dramatic leanings than the consistently light and comedic tones of the film initially suggest.

It’s hinted that Idris has been sober for a number of years, however both central figures turn to alcohol for the evening as the drunken night leads to many giggles and exploits for them alongside the reveal of the dramatic truths. Links to alcoholism aren’t quite dealt with upfront, instead used more to show the emotional state of Riley’s character. While this means the film doesn’t quite dive into dramatic depths until its later stages, allowing for the humour to come through with more ease, it does mean that certain points feel as if they could be dealt with a bit more instead of almost being brushed by.

Yet, it’s the humour which truly projects She Is Love. Not just between Riley and Bennett but also the slight double act of Abela and Robson. Louise asks impossible and confusing questions and tasks of her employee, both played wonderfully dead-pan to increase the laughs. All conversations feel natural with a comedic style and timing which calls back to the likes of In The Loop and The Office – without the mockumentary style of the latter. In particular a scene involving a debate about fish is a highlight of the film as Abela steals the show with just this one back and forth. Of all the top performances throughout the film, highlighting the natural conversational comedy, it’s this scattered supporting role which truly brings the most laughs.

As we near the closing stages of the film the dramatic angles begin to become more prominent. While initially things may have felt lightly dealt with the eventual proper tonal shift is dealt with and eased into rather well. Certain moments might feel slightly aside from the rest of the film, however there’s no denying the effect of how the situation is led into after the drunken antics such as playing tennis while pretending to be ghosts in an increasingly. The general flow of the film is excellent as one event leads into the other, all helped by the increasingly giggly nature of the former couple who aren’t quite healing wounds or confronting them for a fair while – simply seeming as if they’re pretending they never happened. The 80 minute run-time flies by as the ideas the film does display and work with are dealt with well and with plenty of effective humour. Definitely a surprise, but a real delight alongside that.

While some of the dramatic elements might feel lightly dealt with its the natural conversational comedy which brings about plenty of laughs and helps She Is Love to flash by while still dealing with the wounds and details of the central couples’ past.

LFF 2022: The Whale – Review

Release Date – 3rd February 2023, Cert – 15, Run-time – 1 hour 57 minutes, Director – Darren Aronofsky

When it seems his condition may be leading him to his final days a reclusive, morbidly obese English teacher (Brendan Fraser) tries to reconnect with his teenage daughter (Sadie Sink).

It’s been a fair while since I watched director Darren Aronofsky’s The Whale and yet there is plenty of it that has stayed glued to me since this viewing, and will likely echo for some time. Adapted by Samuel D. Hunter from his play of the same name details of the film, even now, appear to have been kept almost as secretive as the central figure. And perhaps this is the best way to go into the film, knowing almost nothing about it. Once inside there’s plenty to experience, best experienced through the surprise factor after all the secrecy.

It’s much like the apartment which Brendan Fraser’s Charlie lives in, hidden away from the outside and yet flooded with hints of memories amongst the wrappers, boxes and general litter. He has little contact with the outside world, apart from the pizza guy (Sathya Sridharan) who leaves the delivery outside the door and walks off and his best friend Liz (Hong Chau) – who, as a nurse, insists that he see a doctor about his condition. Charlie is ashamed of the way he looks, weight over 600-pounds and barely being able to move without something to slowly hold on to. Early on Liz tells him that if he doesn’t see anyone he might not make it to the end of the week, cue his attempts not to go to a hospital, but to reconnect with his resentful teenage daughter, Ellie (Sadie Sink).

“I’m worried she’s forgotten what an amazing person she is” Charlie says to Liz about his daughter. You genuinely believe this line and feel the worry and emotional pain in his voice. In fact, when in ‘dad mode’ Fraser’s excellent performance is at its best. He uses his skills as an English teacher – he lectures via video calls, claiming his webcam is broken, to college students – to write an essay Ellie’s supposed to do for school, the only thing which appears to be able to bring her back to his cluttered apartment. There’s no denying her character’s anger, a handful of scenes between her and other members of the limited cast have an uncomfortable air around them. She puts on a veil of kindness and you worry about where it will go and how it will impact events and relationships, alongside what it may reveal about the past and a former family unit (with Samantha Morton as Charlie’s ex-wife Mary).

However, perhaps nothing quite matches the discomfort of scenes focusing on Charlie’s depressed overeating. There’s an intensity to such moments capturing his anger, upset and attempted relief through how much, and what, he is consuming. Such instances feel like a horror film just in the way they are shot and performed. All helping to make a detailed central figure who we connect with and sit in interest as things pan out around him. The narrative is one of small developments and conversations yet it hooks you due to the dramatic stakes about relationships, both those with other characters and personal ones with themselves, and the courses they travel along in the few days the film covers.

Everything builds up to a stunning finale. One which solidifies the fact that the film will linger in the mind long after the credits have rolled and you’re still in your seat. You’re in breathless awe as the sequences play out, building up a rapidly increasing dramatic and emotional intensity. There are many personal times in my life when I wish I could have had this film (including just the age of 16) and perhaps what personal elements you bring to it (or remember part way through) will help to intensify the response to the overall film. Led by Fraser’s sensationally moving performance, which is worthy of many plaudits, there’s a lot to experience throughout and think about after The Whale. A film to sit and ponder long after it’s over, there’s a lot to like, and even love, once inside the walls of the central apartment in which most of the events take place. A truly stunning surprise once in from the guise of the outside glimpses.

Fraser is stunning with a truly devastating performance which captures plenty of emotional and personal notes with various characters, especially Sink. Full of surprises and genre hints The Whale brings you in for a drama of intense conversations and relationships, leaving you in awe by the stunning finale.

Whitney Houston: I Wanna Dance With Somebody – Review

Cert – 12, Run-time – 2 hours 24 minutes, Director – Kasi Lemmons

Biopic charting the rising career, fame and personal life of Whitney Houston (Naomi Ackie)

Early on, while rehearsing songs for church, Whitney Houston’s mother (Tamara Tunie) reminds her that “every song is about a story, there is no story about a song”. Cue a film constructed largely around build-up to songs which reflect the events in Houston’s life and pretty much summarise the 20 minutes or so which have come before them. The story behind and within each one throughout constructs that chaptered narrative charting the singer’s career, fame and rocky personal life.

I Wanna Dance With Somebody is a largely by-the-numbers biopic. We’ve seen the various elements played out before, and indeed a handful of the shots, however there’s something which keeps you in place and, despite the flaws, generally engaged throughout. Perhaps it’s down to the pacing. The almost two-and-a-half-hour run-time goes by quickly as it runs through the key elements of its central figure’s life. It ticks the boxes and gets through its chapters almost so quickly that you don’t always know what year certain scenes are set in. At times it feels as if everything could almost be set in the same six month span. We don’t even get told properly how old the star is until part way through when a news broadcast mentions she’s 23 – allowing for the following montage and rise in fame to have a sense of wonderment and astonishment to it.

Naomi Ackie plays the central role well, bouncing off each of the supporting cast with an effective manner. While during concert sequences it may be evident that there’s some form of lip-syncing/ dubbing with Houston’s actual voice involved when it comes to the acting in the dramatic instances there’s a good turn from the lead, particularly in the set-up focusing on younger, rising-fame years. This isn’t to say that things weaken as we see Houston aging(ish). As themes of drug addiction begin to come into play there’s a deeper dramatic edge. In fact, one highlight scene involves a quiet, frank conversation involving Stanley Tucci’s supportive record producer Clive Davis bringing up the matter of rehab to his struggling friend and singer. While still dealt with within the parameters of a 12/ PG-13 boundary it certainly feels as if such themes are confronted with more than in a number of other music biopics – including screenwriter Anthony McCarten’s past effort Bohemian Rhapsody.

It’s perhaps such points which keep you engaged throughout the film. Again, you see the flaws and occasional by-the-numbers elements, however they never feel enough, or as consistently visible, to bog the film down and cause a major disconnect. It’s almost certain that this won’t work for a number of people who may notice the formula more, or may simply be more irked by the chaptering of events, and there may be those who view this as just ‘fine’. In fact, that’s probably what I Wanna Dance With Somebody is. A simply ‘fine’ feature. Yet, at least it is that and manages to click and work amongst some of the weaker elements within its construction. Whatever it is that makes it rise just above that and flow as well as it does, it clearly works to some degree and makes for an engaging, lightly enjoyable musical biopic. With the kind of familiar style where you kind of know what you’re getting in general even if you’re not overly aware of the details of the subjects life (as was, admittedly, the case for me). Not quite as strong as the titular Voice, but still a good effort for what’s present.

Whitney Houston: I Wanna Dance With Somebody is an undeniably by-the-numbers musical biopic. However, there’s something about it that makes the time go by quickly with enough to engage to stop things from being bogged down within the familiarity which lies throughout. It’ll definitely have varying responses, but for some there’s enough present in the dramas to distract from the weaker elements.

Just A Little Bit Random Audience Best Films Of 2022 Vote

2022 is coming to a close and with that comes many people reflecting on highlights of the year. Therefore, once again, the opportunity to vote for your personal favourite film of the past year arrives.

All you have to do is vote via this poll by 7pm on Wednesday 4th January for what you thought was the best film of 2022 (by UK release date). The results will be announced on Somer Valley FM shortly after the poll closes, with a piece here on the website not long after.

While 2022 was a year with plenty of much-discussed blockbusters – the MCU created much conversation while we also saw a return to Pandora in the long-awaited Avatar: The Way Of Water – it was a year with many prominent foreign language films. Early on there was awards praise for The Worst Person In The World, while in-between that and the likes of Decision To Leave and All Quiet On The Western Front the world appeared to stop for a moment to go nuts over Indian sensation RRR. Flee also received attention alongside other embraces of the animated form such as Turning Red and Guillermo del Toro’s Pinocchio. And this is all without mentioning independent hits such as X, Everything Everywhere All At Once, After Yang and Mass. A number of these original films in a year that also saw a surge in the use of the term ‘legacy sequel’ from horrors such as Scream and Halloween Ends(ish) to Disney’s throwbacks with Disenchanted and Hocus Pocus 2 (let’s not forget they also brought us Chip ‘N Dale Rescue Rangers!). All that and we saw more people getting hit in the testicles in Jackass Forever!

Whatever your personal favourite of the year is it should, hopefully, be included in the poll. All films featured are by UK release date. Hence why titles such as Nightmare Alley, Belfast and Licorice Pizza appear, and The Fabelmans, Pearl and Marcel The Shell With Shoes On aren’t.

A huge thanks to everyone who votes and shares the poll; it’s greatly appreciated! As mentioned above, the poll closes at 7pm on Wednesday 4th January with the results being announced on the review of the year show which starts at 6pm, shortly followed by a post on this website.

Alternative Christmas Film Advent Calendar 2022 – Christmas Story

With the likes of Rare Exports and Tokyo Godfathers becoming cult classics around this time of year, and after a handful have cropped up in the past, this year’s Alternative Christmas Film Advent Calendar focuses solely on foreign language/ non-English Christmas films. Some simply less heard of around the world, and in some cases their home country, while others aren’t deeply rooted in the season. And so, via this year’s Calendar, let’s go abroad for this year’s Christmas vacation.

The final film in this year’s calendar seems almost right to end on after a week that appears to have largely been filled with dramas about feuding families. In fact, today’s entry is perhaps the most conventional Christmas film that may ever appear in any edition of the calendar. In many ways Christmas Story, as the title might suggest, is an out and out Christmas film – alternative simply because of it’s little known status around the rest of the world.

It seems fitting for this year’s Christmas Eve film to be one about the origins of Santa Claus. And a Finnish one to be precise. Housing Santa in his other home of Lapland we see him go from orphaned child Nikolas (Jonas Rinne/ Otto Gustavsson), leaving thank you presents for the children of the families who take him in each year, to the iconic red-suited, jolly fellow of Christmas (Hannu-Pekka Björkman). When he finds himself taken in by strict, hard-working carpenter Iisakki (Kari Väänänen) while his carpentry skills, and opportunities, are enhanced his Christmas ‘operations’ are too, especially when it comes to the distance travelled to the town.

Overtime, as both characters age, a bond begins to grow between them, and Christmas becomes an even bigger part of the year. Rumours begin to spread about who’s really bringing the presents each year. Myth and legend are created by the local children – enhancing the idea of Santa’s origins and the tales around him.

As a whole the film feels strongly in the vein of traditional festive family flicks. From start to finish, unlike other films not just this year but in previous ones too where the point could be up for debate, this is undeniably a Christmas film. The spirit of the season flowing throughout it, making for even more fitting Christmas Eve viewing as the film begins to look at the impact of Nikloas’ actions on the town, and perhaps even beyond as while he himself begins to isolate himself from the town to keep mystery afloat he continues to hold a friendship with growing Aada (Laura Birn).

A film focusing on the origins and spread of both the Christmas spirit and Santa himself. One which knows the mythology that it wants to depict and does it rather well with an enjoyable traditional fashion. Certainly living up to what it says on the tin and being a rather good Christmas Story to end this year’s globetrotting Alternative Christmas Film Advent Calendar on.

Christmas Story can be watched in the following places:
iTunes/ Apple TV
Or, if you’re not able to/ don’t want to find a physical copy, you can find a list of most services housing the film, including in different countries, on JustWatch.

Alternative Christmas Film Advent Calendar 2022 – The Disappearance Of Haruhi Suzumiya

The penultimate day of this year’s calendar has arrived and finally it brings something lighter with more traditional Christmas elements. As mentioned each day so far, Tokyo Godfathers has become something of a cult classic each Christmas, however today we head to Japan for another animated festive offering in the form of The Disappearance Of Haruhi Suzumiya.

It takes a while to realise the lines that The Disappearance Of Haruhi Suzumiya is travelling down. Not that it’s difficult to engage with, more that the recognisable elements are kept at bay by the mystery of the narrative. As teenager Kyon (Tomokazu Sugita) tries to work out not only why none of his friends seem to recognise him, but also the impact they’ve had on his life – particularly school SOS Brigade leader Haruhi (Aya Hirano) who appears to have completely disappeared from the world – gradually themes similar to the likes of It’s A Wonderful Life begin to come through. Yet, as the film asks whether Kyon is in an alternate world, the same with nobody recognising him or something entirely different such thoughts are pushed away as you simply get caught up in the frantic search for answers.

One which takes place in the build-up to Christmas, which the SOS Brigade were preparing for with plans to attend events as the decorations were being pinned around the ordered schoolroom – despite Kyon’s cynicism. The cold is setting in as the snow falls yet despite festive traditions still occurring order is lacking for the central figure as he feels he may run out of time to find answers, as if the big day is the cut off point for him returning to normality.

It’s as the film begins to play with its sci-fi leanings, alongside fantasy elements with the various humanoid figures who pop up throughout the film, that elements relating to not just It’s A Wonderful Life but also A Christmas Carol appear. Time travel becomes a possible explanation, leading Kyon to confront his various relationships with his friends who he initially somewhat dismissed – despite turning up to see them each day in their usual meeting room. All made more engaging by the bright animation which runs throughout, yet still managing to capture the cold wintry environment in which the film takes place; particularly once the big change happens relatively early on in the run-time. We get the build up we need and then off the plot goes along its course.

There’s plenty to enjoy within the finely animated worlds which the film presents. Covering up familiar themes through the stylings of the narrative it may not be the most deeply-rooted in the festive season but there’s certainly enough elements throughout to provide such feelings. Well worth putting in the time (currently it sits as the third longest animated film ever at 2 hours and 42 minutes) it takes to tell its detailed and occasionally reminiscent of Christmas classics story.

The Disappearance Of Haruhi Suzumiya can be watched in the following places:
Microsoft Store
To see if the film is available anywhere else, outside of physical releases, JustWatch lists most platforms in various countries.

Alternative Christmas Film Advent Calendar 2022 – A Christmas Tale

Behind today’s calendar ‘door’ is one final drama before offering some lighter choices before Christmas. Once again switching back to the idea of family, and staying within the French language as instead of family separation we look at the idea of attempted reunion over the festive season in 2008’s A Christmas Tale.

Almost everyone within A Christmas Tale is identified by how they relate to Catherine Deneuve’s Junon. She’s the reason some of them attempt to put their grievances and grudges aside as many figures are called back home not just to celebrate a potentially final family Christmas, but to help in the search for someone willing to donate suitable bone marrow for a required transplant which could save her life.

Arguments are the least of the problems between the family, particularly the set of siblings – mostly in their 30s. As with previous films in this year’s calendar, there appears to be a common theme of family secrets and past lives – as is featured in a number of seasonal re-watches for many people. Again, what better time to look back on a life and family than the season of goodwill? Goodwill in particular being something which A Christmas Tale uses and plays with rather well as the potential death of the family matriarch rears its head into multiple situations – even those which are very individual to certain figures.

Mix in themes about what, or rather who, real family is and how we view such relationships – particularly interesting in the case of Mahieu Amalric’s somewhat prickly character Henri, often stirring the pot in a number of situations – and there’s a fine set of elements for moments of not-quite-forgiveness. It helps the film to not entirely be a lengthy downbeat set of events. What causes this may be a set of lighter dramas, and indeed the likes of distractions for the characters as they try to still celebrate Christmas and not bring any more of a dampener to the festivities – you can see things playing on Junon’s mind as she tries to enjoy a special play that her grandchildren have put together.

Morality and mortality begin to come to the fore as the characters calm down and spend time thinking about their own attitudes instead of outbursts about each others – although, of course, thoughts clearly continue to linger at the back of various minds. The film’s pacing and form become clearer as it deals with the various characters and the way they find themselves impacted, and brought back together, under the circumstances of their mother’s illness. Christmas doesn’t just feel like a background element, or a reason to have the family come together other than the aforementioned illness, it’s used throughout and made a point of. There almost seems to be something redemptive or attitude-changing (although certainly not in the same vein as the classic example of Scrooge) about Christmas Day itself and attending midnight mass. Beginning to fully embrace the spirit of the day just as it starts. A true turning point for the film and the events and relationships that it depicts. Using Christmas as a quiet turning point instead of just including it.

A Christmas Tale can be viewed in the following places:
Amazon
iTunes/ Apple TV
Or, alongside being available on various physical platforms, you can always check JustWatch to see if there’s any other online services stocking the film, particularly in parts of the world outside of the UK.

Alternative Christmas Film Advent Calendar 2022 – Mon Oncle Antoine

As we find ourselves firmly in the week of Christmas the Calendar continues with snowy landscapes amidst another offering of festive fun. Today we take a trip to Canada, keeping the foreign-language theme going by landing in the French-Canadian territory of Quebec for a coming-of-age tale confronting those oh so festive of themes, life and death.

Perhaps a fine summary of Mon Oncle Antoine comes in a sequence about halfway through the film as we see the English-speaking owner of an asbestos mine (Georges Alexander) slowly riding through the local town on a wooden cart led by a horse. Wrapped in warm clothes amongst the cold air and fading snow, he lamely throws flat stockings onto the ground for the local children. While the kids are excited at the prospect and eventually rush out to greet the packages the parents are clearly dismissive, appearing to frown upon the activity – even the face shows a lack of connection to the festive spirit; his pipe emitting more warmth than anything else in the scene.

This opposes the time and effort that has been put into the decorations of the local general store, covered in all sorts of different-size Christmas displays. Times have been tough within the area, with 15-year-old Benoit (Jacques Gagnon) arriving in town for the winter not long after the asbestos mining strikes which took place earlier in the film’s setting of 1949. The titular Antoine (Jean Duceppe) doubles up running the general store, alongside his wife Cécile (Olivette Thibault), with being an undertaker. Through a busy Christmas Eve Benoit must leave the fascinations of the shop – largely his interest in young employee/ colleague Carmen (Lyne Champagne) – to travel through the snow with his weakening uncle to collect a dead body.

It’s through this journey that the ideas about reflecting on life and death come most of the fore within Antoine’s ramblings and insistences upon his teenage nephew. The coming-of-age style switches to a new tone and path as Christmas almost becomes a time of regret and loss over anything else – not helped by the adult’s continuous drinking throughout the day.

While the store tries to push the spirit of the season to the occasional onlookers of the window display unveiling, it generally lacks in the surroundings and soon makes its way into the views and actions of the central figures. Benoit may spend the couple of days the film spans growing up and exploring various elements of the limited world he finds himself in but there’s plenty of contrast in the streets – both views occasionally playing out at the same time. Christmas is a time in this town, particularly in the state it finds itself in, where truths are revealed and attempts are made to accept them. Everyone’s looking for some form of change and development, particularly in regards to the strikes and actions of ‘the Big Boss’. It’s hinted that it may be the young people, still discovering the workings of the world, who at some point can cause that. All encapsulated within the push of the season from some parties, and the lack of reception to it from a great many others, creating the clash which forms the coming-of-age style.

Mon Oncle Antoine can be watched in the following places:
Filmzie
National Film Board of Canada website
YouTube
To see any other places where the film might be available, particularly if you’re in another country, it’s well worth having a look at JustWatch where most services are listed.