Just A Little Bit Random

Top Ten Best Films Of 2021

2021 was the year which many claimed saw the return of cinema, after the short bursts of intermittent returns in 2020. Cinemas, distributors, studios and cinemagoers each had their fair share of worry about how well certain major films would fare while still in a pandemic, and yet audiences came back with high demand to see the return of their favourite franchises. While popular throughout the year, Marvel truly proved their draw when ending 2021 with the pandemic-record-shattering (not to mention crowd-pleasing) Spider-Man: No Way Home. While before then the UK saw a hit with the return of Bond, and Venom: Let There Be Carnage proved to be an equal hit in the States. And, let’s not forget the blockbuster that caused some of us to return in the first place, Godzilla Vs. Kong (because nothing truly signals the return of cinema like a giant monkey lamping a lizard!)

However, there was still much of the year spent indoors, yes, catching up on old favourites, but also hearing the love for newer, original titles. The likes of The Mitchells Vs. The Machines and Love And Monsters appeared to come out of nowhere, but both proved to be favourites amongst their respective audiences and pleasing surprises from the past year. Streaming services provided plenty of acclaimed films throughout the pandemic, including a number of awards favourites. It was through them that many viewers got to see the likes of Sound Of Metal (Amazon Prime), Promising Young Woman (Sky Cinema) and this year’s Best Picture winner Nomadland (Disney+). They even continued to do so once lockdowns were lifted, releasing films such as Tick, Tick… Boom, The Harder They Fall and Don’t Look Up (all Netflix). Even titles such as The Green Knight, Palm Springs (Amazon Prime), First Cow and Shiva Baby (MUBI) perhaps gained larger attention thanks to their placement on such services.

Post-awards season, when other contenders finally saw a big screen release, there was plenty of attention towards the likes of The Father and other indie films that may not have had a light shone upon them had 2020 been a more regular year with bigger titles released. Indie films thrived throughout the year, even before Wes Anderson came back to do for arthouse cinemas what Bond and Spider-Man did for chains. Annette, Censor, Pig, Another Round and Titane all saw plenty of audience discussion and reception, and were perhaps amongst some of the most talked about films of the year.

It can be said that a number of films have struggled this year, at least when looking at box office figures for the likes of ‘underperformers’ like West Side Story, In The Heights and The Suicide Squad (although West Side Story certainly pulled in an audience and the latter two titles were also available to stream on HBO Max in the US). But, there’s still been plenty of original titles, alongside the continuing success of franchise titles and blockbusters, that have created conversation and brought more audiences to various titles. Plenty of the most-praised, and often rightfully so, titles of 2021 have been original features. It’s been a strong year for film, and not just in terms of the return of cinema and box office numbers and records (even if ‘records’ does have to be prefaced by ‘pandemic’), and perhaps one of the most difficult in the last few years to put together a top ten where I didn’t have to remove multiple films that I really wish I could have kept in and mentioned (particularly those that I wish had been discussed more, such as Spontaneous, Bad Trip, Herself and Wildfire). However, after yet another overlong introduction simply listing film titles, here are my top ten films of 2021.

10. Demon Slayer The Movie: Mugen Train

Demon Slayer The Movie: Mugen Train was one of the true surprises of 2021. For me, it was one of those films that you go into knowing absolutely nothing about and leave rather amazed at what you’ve just seen. I knew barely anything about the film, especially not the fact that it was a bridge between the first and second series of hit anime show Demon Slayer: Kimetsu no Yaiba. The film certainly doesn’t feel like a bridge, although perhaps leaning that way very slightly towards the very end. I was easily swept up in the narrative as it flowed and moved with the pace of the train that it’s almost entirely set on.

As the demon slaying protagonists do battle with the various demons that reside on the train, including core villain Enmu (Daisuke Hirakawa) – bringing about some of the best combat exchanges of the film, with his open-mouthed hand like a much more gothic version of Thing from The Addams Family – there’s plenty of striking visual flare to expand the world. The detail of the animation heightens the fantasy element and pulls you into the world, and yet also helps to engage you into the psychological delves into each figure. The action almost seems to stop at one point as we experience character beats and flashbacks which help to propel action further on and the nightmarish events occurring throughout the train which has seen the disappearance of many demon slayers before.

The crew and animation team have crafted something which makes the most of your heightened sense, particularly when it comes to the extended sequences of non-stop action. Particularly as stylish anime style is mixed with CG animation to create an occasional extra layer of visual power that puts you back in your seat with the simple response of “wow!”. There’s plenty to like about the stylish action of Demon Slayer The Movie: Mugen Train. It holds plenty of thrills and engaging sequences that truly come to life on the big screen. Yet, it still finds time for dream and subconscious-delving character beats which help to advance the train-rattling narrative and allow you further connection with the world and its characters.

9. Another Round

There’s something about the Scarlet Pleasure song What A Life accompanying the final (and opening) stages of Another Round which perfectly summarise the film. It’s part midlife crisis drama, part midlife crisis comedy mixed with booze. A true cocktail of dizzying proportions as we see an excellent Mads Mikkelsen and fellow teaching staff (Thomas Bo Larsen, Lars Ranthe and Magnus Millang, all forming an excellent ensemble) attempt to write a paper on whether a theory that humans work best with a blood-alcohol level of 0.05%, although increasing the level of alcohol overtime.

There’s humour to be found within the drunken antics of the quarter, however as time goes on the levels of drama are pushed with fine balance and introduction to form something rather thoughtful, and not without its elements of emotion and tragedy. Clearly all coming from a personal angle from writer-director Thomas Vinterberg, who appears to be supported just as much by his cast and crew as he does them.

Everyone appears to band together to create a story about relationships and rejuvenation. One which, as it goes on, begins to blend the lines between comedy and drama as you start to wonder whether you should laugh or be fearful for the characters as their lives indeed become something of a drunken blur. It’s all helped by a number of great central performances, the supporting cast around Mikkelsen truly shining and almost showing as co-leads on re-watches, and a real sense of (perhaps booze-infused) hope amongst crisis. Not to mention, perhaps, the best ending of the year!

8. The Lost Daughter

The Lost Daughter starts out the way in which the perfect film, or travel series, might; simply showing Olivia Colman having a lovely time on holiday. Luring you into something of a false sense of security Colman’s happily relaxing on the beach eating an ice cream far from prepares you for the strongly compelling set of flashbacks and repetitions that are to come over the course of the film.

As fellow holidaymaker Dakota Johnson loses her daughter on the beach it triggers callbacks for Colman to her years as a young mother, the younger version of herself played by Jessie Buckley. She almost sees herself in Johnson and the events that pan out on the Greek island they find themselves on, Colman seemingly there to escape herself and her past – yet almost always talking about her younger years and her now seemingly estranged children. She gives a truly fantastic performance, that draws you further into the film, as someone still experiencing, yet not trying to show out of fear and guilt, years of pain and regret.

Everything pans out very gradually, yet you’re held in place by writer-director Maggie Gyllenhaal (making her feature debut in both respects) as the film offers new insight and information at each turn. Simply strengthening each character and the unfolding events which feel as if they could go in any direction, and lean into any genre, at any moment. It’s all finely balanced and helps expand the detail that lines, and is even hidden in, the piece. Forming an engaging, compelling and thoughtful film which is so wonderfully conveyed by Gyllenhaal’s camera, and the stunning subtlety of Olivia Colman’s central performance.

7. Nobody

Towards the end of John Wick: Chapter 3 – Parabellum I began to think to myself ‘I don’t know how much more of this I’m going to be able to watch’. While I really enjoy that trilogy I’m tentative about the upcoming fourth and even fifth instalments of the franchise, wondering if (and when) it’s going to begin to feel somewhat tired and done with. In the case of Nobody, penned by John Wick writer Derek Kolstad, that answer might be not any time soon.

Another film which lures you into something of false sense of security, although with a sense of being rather self-aware, Nobody begins to Bob Odenkirk as mild-mannered, number-crunching, family man (and past-life ‘auditor’) Hutch Mansell. However, it’s not long until you anticipate who’s face will meet his bloodied fist next, after introductory lines and one-liners lead the way to (sometimes literally) explosive needle-drops which can only really be described as COOL! Through fist, knife and gun fights Nobody forms engaging action which brings you in for perhaps one of the most entertaining films of the year, helped along by the fact that it appears to be so aware of itself and exactly what it’s trying to be – particularly as Hutch’s simple quest to get his daughter’s beloved kitty-cat bracelet back from a pair of home-invaders leads him to a run-in with the Russian mob, led by Aleksey Serebryakov’s Yulian Kuznetsov.

There’s plenty of thrills and entertainment to be found within this fast paced (while some might choose to show a triple headshot in slow-motion director Ilya Naishuller shows it as it happens and moves swiftly on to keep the pace going in the short 92 minute run-time) action flick. The kind which has you on the edge of your seat, leaning in to the screening in anticipatory joy, issuing excited giggles at the needle-drop infused carnage that’s on display. Whether led by Bob Odenkirk, or one of the brief appearances of Christopher Lloyd as his father, there are plenty of thrills and chuckles to be found within Nobody.

6. I Care A Lot

“Playing fair is a joke invented by rich people to keep the rest of us poor” explains Rosamund Pike’s gleefully evil Marla Grayson. Likely wearing another brightly-coloured outfit to further brighten up her sunny demeanour she makes a living by manipulating the courts into thinking she’s a trustworthy person and therefore making her the guardian of a number of aging figures. However, once guardian she blocks all contact with the family of those who have been put into her care, all in the hope of gaining inheritance money that would have otherwise gone to the children of those she’s responsible for.

That is until she manipulates, abuses and attempts to steal thousands of dollars from Jennifer Peterson (Diane Wiest), the mother of increasingly angered gangster Roman (Peter Dinklage). He’s intent on finding out who Marla is and exactly what’s happening to his mother. In multiple respects the question “what lines will I cross?” is asked, and it helps to ramp up the tension that the piece builds up. Tension which never really has anywhere to go as you can’t get behind or support anyone’s cause due to every character being a, perhaps knowingly, bad person. In fact, the only person you truly can feel sympathy for is Wiest’s as she begins to rapidly deteriorate at the uncaring control of Pike’s wonderfully performed (in a cast holding many great performances) central character.

As characters get closer to each other and the eventual clash nears the stakes rise, alongside the tension, and a delirious thriller is formed. One filled with twists and turns to boost the escalating fast pace. A pace which is even held in the high drama of courtroom and one-on-one conversation scenes. There’s plenty enjoy within the finely balance tone and nature of the film, where your tension rises due to having nowhere to go, particularly as you’re kept in the grip of the various antagonistic and villainous figures that line the piece. All revolving around Diane Wiest’s Jennifer Peterson who is largely kept in mind throughout the film, especially the build-up to when things truly kick off, so your sympathy has somewhere to go, and many later actions are contextualised and built upon for a truly built-up-to pay off and set of events.

5. The French Dispatch

Words and expression are integral to The French Dispatch. So, it’s fitting that it contains, what I believe to be, Wes Anderson’s best screenplay yet. The dialogue that makes up the three core articles, and brief travel feature, feels like it could be taken directly from a magazine, yet never distractingly so. Certain moments are altered for conversational beats, or to further bring to life the idea of a talk, or interview, however the love, care and power of words is consistently in place throughout each strand. Bringing it to life and further allowing the viewer to enter into the world which is being detailed and expanded in the very moment.

It’s easy to say ‘Wes Anderson’s made his film again’ in the build-up to a new Anderson feature, I certainly said it a number of times before the release of The French Dispatch, and probably will when it comes to his next feature too. However, I happen to quite like Wes Anderson’s film. The standard elements are there within The French Dispatch. The visual style and flair which helps to bring the film further to life – it’s clear that Anderson is showing off on some occasions here, and not just as Owen Wilson whizzes through the streets of France on a stop-motion-like bike tour. But, In ihe case of his latest feature Anderson displays slight hints of something new. Clearly on display that show brief glimpses of hints and spirits of hope and thoughtfulness. A considered style which has been very briefly on show in the likes of The Grand Budapest Hotel and Fantastic Mr. Fox. Beats which are stretched out here and feel integral to thoughts of emotion and looking towards the future in a moment where hope is being searched for.

It’s an interesting angle that adds to further engagement with the film as a whole – once which already holds the charm of Jeffrey Wright monologuing as he works his way through the confusing corridors of a police station. One, as has become expected from Wes Anderson, which is already filled with precision in the visual detail. The words match the magazine and the film as a whole. The death of the editor which signals the final issue (and his obituary), echoing throughout the film in different styles and volumes. It’s a finely thought out and sculpted piece of work brought about, much like a magazine or newspaper itself, by an entire team effort. Amongst Anderson’s best, and definitely sounding as if he wrote it that way on purpose.

4. In The Earth

While there had been one or two blockbusters (primarily Godzilla Vs. Kong) released already nothing brought back the scale of the cinematic experience quite like the visual and audible attack that is Ben Wheatley’s In The Earth. A film which, after only just having been allowed back outside, will make you want to not go back out for a considerable amount of time.

Everything is stripped back for the writer-director’s return to low-budget horror as we see scientist Martin (Joel Fry) and park scout Alma (Ellora Torchia) make the trek through the woods to deliver essential equipment to a research base run by Hayley Squires’ Olivia. From initial conversations about folk demon Parnagg Fegg and the belief that the plant-life is all connected as one active mind the pair soon find themselves fighting for their life when they encounter the cult-like figure of woods-dwelling Zach (a terrifyingly dead-pan Reece Shearsmith).

It’s here that the blend of horrors comes into play. From cult links to effective lingering body horror and simply entrapment (the environment feels like an unidentifiable, inescapable expanse yet has a truly claustrophobic feel at the same time) the film builds-up to a truly mind-melting set of events that cause you to truly question just what’s happening on-screen, while being forced back into your seat to simply witness and take everything in. All gradually built-up to after an initial, and continuous, set of subtle camera techniques, such as slight wobbles or being placed at an angle at a far distance, in the bushes, as if someone is watching the pair in secret – truly setting in an early sense of almost unrecognised unease.

The look and sound of the piece are key and truly place you into the woods in which everything takes place, gradually increasing bit by bit – hand-in-hand with the horrors that are on display – for a real cinematic experience. One which begins to take control and display a real sense of power (even when watched on the small screen). It all builds into a truly effective attack on the senses that heightens the nature of the film as a whole and the horror sub-genres that form it. It’s an excellent piece of work that’s further boosted by a small ensemble cast, each of whom delivers a great performance in helping to capture the true terror that’s unfolding in the enclosed space of the surrounding wilderness.

3. Promising Young Woman

There’s something unexpectedly tense about a high-pitched string version of Britney Spears’ Toxic, it acts as a final countdown to protagonist Cassie’s (Carey Mulligan) grand act of revenge. Her best friend Nina committed suicide after being sexually assaulted and raped while at the same medical school that Cassie would later drop out of, and she’s out for cleverly-planned justice. As the plan is enacted out there’s something increasingly sinister about Mulligan’s performance. A number of reveals, sometimes you piece things together just before the film confirms your fears, are genuinely shocking, a gasp-inducing mixture that sometimes leads to gut-punch horror – even if everything isn’t always as it seems.

Everything is mixed in a fine blend of genres within writer-director Emerald Fennell’s Oscar-winning debut feature screenplay. From the aforementioned moments of shock and horror placed neatly within the escalating drama, matching with the satire that lines the piece and some of themes that it holds. The idea of self-believing ‘nice guys’ certainly has an element of humour as their panic rises when Cassie reveals that she is in fact not drunk after they begin to try to take advantage of her after taking her home from nights out at the bar or club. There’s something rather cinematic about the way the dark satire, and ultimate act of revenge, pans out. You’re caught in the grip of the film and the suspense that it creates, for both Cassie and those that she’s after.

However, it’s Mulligan’s deeply personal monologue that acts as the film’s standout scene. Conveying the themes and ideas that it’s been playing with and forcing you back in amazement with an astounding effect. It’s the peak of a performance that has been flowing with fiery passion from the opening stages and bringing you further into the narrative with slight tension (perhaps for Cassie and what will happen to her after the discomfort that has been gone through just a few moments before in a number of instances) and plenty of intrigue. There’s a boldness to the film that comes from emotion and rage, caught up in a fiery style that you can’t help but feel the effect of. Mulligan is excellent in the leading role and wonderfully captures the tones of Emerald Fennell’s screenplay. From the dark satire to the revenge thriller there’s a sinister streak within Promising Young Woman that doesn’t try to hide itself and it adds an extra layer of force and energy to the film as a whole.

2. The Dissident

There’s a chance that the scariest film of 2021 wasn’t even a horror film, well, at least something firmly in the horror genre. Director Brian Fogel’s latest documentary, The Dissident, takes an in-depth look at the murder of Saudi Arabian journalist Jamal Khashoggi in the Saudi consulate in Turkey in 2018. As the events are detailed, and various figures relating to them and Khashoggi are interviewed, the film plays out more like a thriller than anything else. There’s a feeling of intense investigative journalism throughout the film, like a highly cinematic piece from This American Life. It all builds up the levels of tension surrounding the event and creating fear in almost anything that you’re shown over the course of the run-time.

The themes of “Learn more. Take action. Make a difference” ring throughout as it delves into Khashoggi’s journalism for various sources, including The Washington Post, and his interactions on Twitter with other critics of the Saudi government, some of whom are interviewed in the film and reveal a truly dark world. Long after the credits have rolled shockwaves remain floating around your head with an undeniable effect. There’s plenty to unpack and witness in the film, and it certainly warrants a still tense and uneasy re-watch. Potentially it’s the fact that you know what’s going to happen and where the film is going, but then again it’s testament to the fact that with everything that it covers the film remains tight and focused. Moving along with a quick pace, never overloading or rushing information but simply keeping the fast, thriller-like feel.

The Dissident is a film which is about as passionate about Khashoggi’s work as he was about fighting for freedom of speech and the right to criticise those in power. Heightening the intensity and overall effect there’s a powerful wave created by Fogel’s latest documentary created through the shock that it creates through fine craft and precision. Forming a highly cinematic documentary that feels direct (despite the messy nature of the events, the twists, turns and diversions that come with it), detailed and ultimately engaging. Keeping you in place, often glued to the screen, as the spiralling events pan out and more is revealed about the Saudi government and the context and events building up to Khashoggi’s murder. By the time a simple transcript of events comes up the feeling that runs through the viewer is that of pure terror.

1. Sound Of Metal

I said earlier in the year that if I was a voting member of the Academy, and it’s probably a good thing that I’m not, I would have voted for Riz Ahmed in the Leading Actor category this year. His turn as a heavy metal drummer, and recovering addict, whose hearing begins to rapidly deteriorate pulls you in to Darius Marder’s Sound Of Metal. It’s an angered, frustrated, scared performance that also captures all the physical beats of the character. A figure who looks like Ahmed, sounds like Ahmed (with an American accent) and more, but feels completely different in almost every way. Yes, that’s generally acting, but there’s something truly transformative about his performance in Sound Of Metal.

Ahmed’s Ruben recieveds help from Paul Raci’s Joe, teaching him, simply, how to be deaf. You can’t help but feel pride, hope, uplift and sadness as he makes his way through the film and experiences certain character changes and downfalls too. You’re placed into his shoes through the sound design. Highly detailed and effective you hear the muffled, rumbled and distorted chaos and confusion of his new life, before it may go permanently silent. All after the clear everyday noises of his creaking motorhome and slowly dripping coffee. All of a sudden everything is plunged into an equally subtle cold, grey look.

There are plenty of cliched words that could be used when talking about Sound Of Metal, I’ve likely rattled off a number of them already. There’s a true attention to detail that enhances the audible nature of the world and helps bring you in to almost be able to feel it on a number of key occasions. You’re firmly rooted there to observe the course that Ruben takes, for better and worse, from start to finish, still hoping at each turn that things will pan out ok for him or that he will make the ‘right’ decision. Regardless, there’s a truly impactful and emotion story told within Sound Of Metal. One that’s led by your responses to the central character and those around him who are simply trying to help and understand him, despite increasingly closing himself off from the rest of the world. A truly striking piece of detailed work, in multiple areas, which I believe is the best film of 2021.

The King’s Man – Review

Cert – 15, Run-time – 2 hours 11 minutes, Director – Matthew Vaughn

After having seen multiple deaths in previous wars and promising to never kill again, Orlando, Duke of Oxford (Ralph Fiennes) finds himself having to assemble a team to take down the head of an organisation which has planned and masterminded World War One.

Whatever you may think of Kingsman: The Secret Service and its sequel The Golden Circle there’s little denying that both are thoroughly modern spy ventures. Now, with largely World War One set prequel The King’s Man Matthew Vaughn takes something of a slightly more traditional route with the franchise. There are certainly some slight gadgets wound into certain scenes, but for the most part it’s back to traditional hand-to-hand combat, with the occasional gun, sword and knife. The film sees the birth of the Kingsman service as we know it, at this point before the breakout of the war Kingsman is still only known as a distinguished tailors in Savile Row. A place frequented by Ralph Fiennes’ Orlando, better known as the Duke of Oxford. It’s a shop which he hopes to see his son, Conrad (Harris Dickinson – who it’s somewhat difficult to believe is meant to be a teenager for much of this film) don the suits of in years to come.

However, Conrad has other hopes that go well against his father’s wishes; his father a man who has sworn never to take another life after witnessing mass bloodshed in previous wars. Hopes of joining the military and helping to fight in the rapidly growing First World War. It’s a war that Orlando, alongside skilled-with-a-knife servant Shola (Djimon Hounsou) and code-cracking nanny/maid Polly (Gemma Arterton), intends on stopping. However, things are much more complex than they seem. There’s a winding road of villains and figures to combat, all of whom have links to a hidden organisation run by a hidden figure intent on getting revenge on King George V (Tom Hollander – who also plays the leaders of Germany and Russia, Wilhelm II and Nicholas II) for centuries long mistreatment and ignorance of Scotland.

Starting an entire World War certainly seems like something excessively severe for the sake of Scottish nationalism, but it also manages to be one of the more amusing elements of the film when revealed (perhaps not intentionally though). It slightly suits a villain who resides in a shabbily built barn surrounded by CG goats on top of a hundreds-of-feet towering rock in the middle of nowhere – hollow it out and you’ve got a perfect Roger Moore Bond villain. A man who has a gang of villains which most prominently features the dance-battling Rasputin (Rhys Ifans). A man whose threats include “time to dance… on your graves” before going into another spin attack – you decide the correct response. While Rasputin has seemingly been advertised as the main villain this is far from the case, he’s simply a supporting character, a barrier in the way for the protagonists to get to the true antagonist. There are a number of these figures who stand in the way and they each act as slight tangents which, particularly in the second half of the film, push the run-time further.

Each one also adding to a slight mixture of tones and genres from scene to scene that don’t quite gel together – one or two early scenes looking at the grand Oxford home feel like they could be found in an episode of Downton Abbey. The King’s Man is certainly something of a mixed bag in the way that it puts itself across to the viewer. Yet, the core element of the action never seems to properly grab you. There feels to be little flare and so blood is used to liven things up in the stop-start nature of such moments, yet still little effect is to be found. It simply causes such sequences to begin falling into the feeling that the film is becoming almost a pastiche of itself. It causes disconnect between the viewer and the film, enhanced by the winding nature of the narrative. Jumping between characters and locations with various lengthy tangents it simply causes the final piece to feel long and disengaging.

There’s a long and winding nature to the narrative of The King’s Man – perhaps stemming back to its history-twisting villain. It stops the flow from every truly speeding up and means that the action also lacks an impact as you continue to disengage from the general nature of the piece, rattling along its course of tangents, trying to find a way to get its central characters to the finale. Certain elements almost feel tacked on or added to both extend the run-time and try to almost makeup a way to the ending on the spot, as if the narrative is unsure of itself and where it’s meant to go from one point to another. Sometimes choosing to scale the increasing heights and cold of a giant rock rather than simply walk around it.

There’s a more traditional feel to The King’s Man, and yet much of the run-time is spent seemingly extending it with tangents and bursts of relatively ineffective action within the winding, tone-changing plot.

‘The Spine Of Night’ Interview

Co-writer-directors Philip Gelatt and Morgan Galen King, alongside actor Larry Fessenden, join me to talk about their upcoming dark-fantasy adult animation feature The Spine Of Night. The film will be available on Shudder from 24th March 2022

You can follow The Spine Of Night on Twitter and watch on Shudder, in the UK, from 24th March 2022. It’s currently available to stream on a number of platforms in the US, where there is an upcoming DVD and Blu-Ray release on February 1st.

If you want to find any of the guests on Twitter, or want to hear their song requests, then you can find them by following the links below:
Morgan Galen King – The War Drags Ever On – Tank
Philip Gelatt – Veteran Of The Psychic Wars – Blue Oyster Cult
Larry Fessenden – Blackstar – David Bowie

Don’t Look Up – Review

Cert – 15, Run-time – 2 hours 18 minutes, Director – Adam McKay

Astronomers Dr. Randall Mindy (Leonardo DiCaprio) and Kate Dibiasky (Jennifer Lawrence) set out to tell the world of a large comet set to wipe out all life on Earth in just six months time, after the American government and major tech companies fail to react, instead looking at how they can gain from the event.

There’s an almost unexpected sense of anxiety and panic within Adam McKay’s Don’t Look Now. An increasingly thick feeling of real-world doom as the seemingly unstoppable impact of a planet-destroying comet grows ever closer and increasingly politicised. For months astronomers Dr. Randall Mindy (Leonardo DiCaprio) and university student Kate Dibiasky (Jennifer Lawrence) have been trying to tell the world of the planet killer which is just six months away, however the best they’ve gotten is becoming social media memes or daytime TV personalities. Getting the word out themselves, even with the help of a great Rob Morgan as key NASA figure Dr. Teddy Oglethrope, has proved more difficult than they thought, after the response from the American government and major tech companies has been about how the comet can be used for their own gain, both personally and in the eyes of the public.

Yet, McKay’s latest strays away from just targeting such figures. It’s certainly not a “nobody is safe” type film, but Don’t Look Up is the least specifically targeted of his more recent efforts. Showing how the world may very well react, or indeed fail to react, if threatened with impending, but potentially stoppable, doom. Jabs at social media and growing trends in relation to the event feel well done and at points unfortunately believable, increasing the level of engagement and satire within the piece. It balances the bursts of humour – not always jabs or shouting for attention to be recognised as parallels to the real world – well with the lightly (yet growing) dramatic nature that it largely holds throughout. As DiCaprio and Lawrence become increasingly frustrated and worried about what will happen to them and the whole planet if nothing is done.

Unlike McKay’s previous film Vice where the central figures were meant to be unlikable this is a film where largely the main characters are in the right – even if on some occasions they do go down predictably wrong and questionable routes as their influential statuses grow from their TV presences. The villains, wrongdoers, and figures who are trying to profit from the death of the planet are those which cause the frustration, but we’re not meant to connect with them meaning that it’s easier to connect with the film as a whole. What further helps the piece is that it feels more narrative than character led, allowing for a sense of interest to be sparked when it comes to how things are going to pan out. In this slightly recognisable satirical world it does feel as if anything could happen by the very end.

Where the film becomes more of a commentary on political divide is in the second hour where Mindy and Dibiasky almost get pushed aside for a short amount of time. It gives chance for Meryl Streep’s slogan-branded-cap-donning, undeniably Trump-influenced President to take to the stage and develop her side-arc in the build-up to the finale, working with tech billionaire Peter Isherwell (Mark Rylance – perhaps the only truly naff performance in a film that has its fair share of (not so) heightened parody, see Jonah Hill as the President’s son and slightly ignored chief of staff, and a very funny Ron Perlman as a Medal of Honor recipient with views of “a different generation”) to gain precious elements from the comet. However, once the original pairing properly return after a brief 20 minute breather the film comes back to form in multiple ways. DiCaprio’s anger is felt, creating a sense of unease and tension that is truly felt in his on-air rants on an otherwise light-hearted gossip show (anchored by the booze and banter-fuelled personas of Cate Blanchett and Tyler Perry). Fear begins to set in during a number of highlight scenes as the film truly hurtles through its final stages, with the viewer never quite knowing where, or how, it will end.

It’s certainly well-handled by McKay who keeps track of the events well and makes sure the viewer is aware of the increasing panic throughout the film, while still managing to create a well-balanced satire and light drama. The chuckles are there, but so is the growing anger within DiCaprio and Lawrence, both of whom are strong leads in bringing the viewer on board and into the unfolding narrative, with the various figures who don’t appear to be treating the extinction-level threat with the seriousness that the astronomers think (know) that it should be. It makes for an enjoyable, sometimes uneasy, watch; perhaps just as McKay intended. Not specifically targeting one group of people, capturing a fair deal of the modern day in its representations, responses and reactions to the events that pan out over the mostly quickly-passing run-time.

Perhaps Don’t Look Up is a film very much of its time, it certainly feels like it is – largely in regards to some of the political references which luckily don’t feel too out of date as of the moment – but, for the time and this very moment it’s a film that largely works. Creating both knockbacks, tension and humour through its modern leanings and depictions, much of which is caught through the frustration of the DiCaprio and Lawrence’s central two figures who help bring you on board and into the flow of the luckily event led narrative.

With a narrative led more by events than characters Don’t Look Up manages to stir up tension and occasional humour within its largely well-acted drama. Rattling along with a fine pace to keep your engagement it may be of its time, but very successfully so.

Being The Ricardos – Review

Cert – 15, Run-time – 2 hours 11 minutes, Director – Aaron Sorkin

During the week-long production of a peak-popularity episode of I Love Lucy Lucille Ball’s (Nicole Kidman) career and personal life are thrown into spiralling worry for her and the producers after a series of potential and actual revelations.

It’s 1952. I Love Lucy is the most popular show on American TV. Nearly the whole country stops just to watch it on a Monday night. Lucille Ball (Nicole Kidman) is perhaps one of the most famous and influential figures in the country with her leading role in the sitcom. However, while the show appears to be at its peak – and only just setting out on its second series – we’re meant to believe that Ball is still a risky presence on set due to a series of flops and struggles in her past – her status, as an increasingly un-bankable ‘aging’ figure, seems to be, at best, “queen of the B-movies”. This is only career-wise; as writer-director Aaron Sorkin’s film covers the week-long production of an episode of the show there’s plenty more for Ball, the producers; particularly increasingly stressed head-writer Jess Oppenheimer (Tony Hale), and her husband and co-lead Desi Arnaz (Javier Bardem) to worry about.

It all starts when Walter Winchell announces historic links between Ball and the Communist party – risking both the show and Ball’s career before production of a new episode can even start. The lawyers and producers are immediately on the case, brainstorming ideas of how to deal with this if anything further arises. As if this isn’t enough to deal with Lucille and Desi, who she begins to believe might be having an affair, both looking for more involvement in the show – particularly as they both begin to seek more control in terms of production – announce that they are expecting a baby, truly altering the course of the rest of the series. The way is paved for a series of beats and ideas that pop up every now and again over the rather lengthy two hour and eleven minute run-time. We experience flashbacks which act as further jumping from one point to another and then back again all to try and tell the story of the figures who played the famous Ricardo couple of TV, yet the film often leans more towards Kidman’s Lucille.

While giving a good performance it’s often distracting seeing the make-up intended to transform Kidman into Lucille Ball. There’s something almost of the uncanny valley to it, reminding you somewhat of motion capture films of years gone by. However, Kidman still manages to give an engaging performance, and so does Bardem – offering a couple of musical numbers as he performs in a club, growing the want to see him in a musical. However, the best performances of the piece perhaps lie within the supporting figures of J.K. Simmons and Nina Arianda as supporting castmates of the central pairing William Frawley and Vivian Vance respectively. We don’t see the feuds and worries that unfold through their eyes, but their certainly there to witness key events, both together and individually, and try to help out – or at times rather call out – in certain situations.

There’s almost a sense of consistency that comes from them as the film continues to jump back and forth, even in the second hour where details are expanded upon, and the film almost becomes busier with the various ideas that it has bubbling over and trying to fit into both the run-time and the week in which it takes to create and shoot an episode of I Love Lucy. It pushes the run-time and causes certain scenes to feel longer than they should be, particularly a couple which feel as if they could belong on the stage, calling back to some of Sorkin’s early theatrical work. Where scenes such as this succeed is when looking at a group response to the unfolding, and changing, events. Whether it’s the pregnancy, communism links (which drop very quickly and almost appear to be forgotten about at one point), cast demands or more that arises within the studio offices there’s a quick-paced nature to the table or desk debates. When looking at more personal, almost behind-the-scenes, elements there’s a slightly slower pace that shows the film’s bigger interest in Lucille as it moves towards her and her past rather than the chaotic week that she’s currently riding through.

In the end the film sits between biopic and retelling of events, not quite blurring the lines between the two. It certainly houses good performances which help to lift it up, especially in ensemble sequences where the dialogue bats back and forth. However, with so many strands with varying levels of detail running throughout and being referred to at different intervals there’s a lot going on in Being The Ricardos. Certainly some of it is more engaging than others, and it’s often that which happens in the confines of the early 1950s TV studio system that keep you in place and create the most fluidity amongst the rest of the time-jumping that makes up this rather mixed series of observations and retellings which have been somewhat condensed into the easily-burst confines of a week’s TV production.

There’s a lot going on in Being The Ricardos and it shows in its jumping back and forth between times and locations. The performances are good, particularly from the supporting cast, and there are interesting ensemble elements, however the quieter, more personal beats begin to fall flat as the film pushes further strands and the run-time.

Alternative Christmas Film Advent Calendar 2021 – The Holly And The Ivy

Each year the Alternative Christmas Film Advent Calendar takes a look at the perhaps lesser-known Christmas films. The ones that we don’t make a point of re-watching each year as festive tradition. With that in mind this year the Calendar, with slight inspiration from last year’s selection of The Curse Of The Cat People, delves into the world of forgotten classics, the ones that may have been slightly left behind in exchange for the likes of It’s A Wonderful Life and The Bishop’s Wife.

As we arrive at Christmas Eve, and therefore the final day of this year’s calendar, today’s forgotten classic is one that has perhaps become a new festive favourite of mine. And also one that I knew nothing about before researching and watching for the calendar. Behind the final ‘door’ – put a quote/ saying you feel applies for this – of this forgotten Christmas classics calendar is 1952’s The Holly And The Ivy.

Based on the stage-play of the same name (with writer Wynward Browne co-writing the screenplay with Anatole de Grunwald), The Holly And The Ivy largely revolves around the traditional idea of a rather dysfunctional family returning home for Christmas. The leading figure of the Gregory’s is devout vicar Martin (Ralph Richardson), deeply faithful he’s fixed on the true meaning of Christmas and the sermon he will deliver on Christmas Day. It’s the kind of thing daughter Jenny (Celia Johnson) hears all day every day as she looks after her father and his house, despite wanting to run away and be married to local engineer and family friend David (John Gregson). The restraint that she feels is felt by everyone else as they arrive one by one, in quick succession. With this in mind tensions rise and re-rise as it’s revealed just who doesn’t hold religious beliefs anymore, and the personal problems that certain faces are going through.

From initial civil disagreements to complete disapproval and arguments each of the children is made to feel put down and almost shamed of by their father, over the course of a long Christmas Eve. What initially feels like a standard Christmas of distant family reacquaintances, a feeling which is lightly kept throughout in the presence of elderly Aunts Bridget (Maureen Delaney) and Lydia (Margaret Halston), delves into a set of personal dramas, particularly when Jenny’s sister Margaret (Margaret Leighton) arrives with her own truths and secrets, and the personal burden of alcoholism which she’s trying to hide from the family, particularly her father.

It’s difficult for each figure to focus on the goodwill and family presence of the season with their own respective worries and focuses. Despite some attempts many, mainly the children, get caught up in their own personal feelings and fears at how their father will behave and react, all while he prepares for his Church service the next day. The tree may be lavishly decorated and the fire warm, yet the white coldness of the thick snow outside, lining the windowpanes, lightly draughts in to the situation and adds a coldness to each situation, despite the lack of conversation and confrontation which is (or rather isn’t) occurring.

Yet, there’s still a spark of family festivities present within the piece. A group who have come together, some travelling far distances – with son Michael (Denholm Elliott) somehow obtaining a couple of days of compassionate leave from the army – to celebrate Christmas together. There are certainly rifts on display, a fair few deeper and more long-held than the standard dysfunctional family. But, the film doesn’t forget the Christmas season and that Christmas Day itself is just around the corner, a feeling which is present throughout much of the short run-time – a feeling which both heightens the drama and the family feel and heart of the film.

The Holly And The Ivy can be watched in the following places:
Amazon
iTunes/ Apple TV
Google Play
YouTube
Or, you might be able to find a physical copy somewhere. To see if the film is available to buy, rent or stream anywhere else, particularly in your country, it’s always worth checking JustWatch.

LFF 2021: The Tragedy Of Macbeth – Review

Release Date – 26th December 2021, Cert – 15, Run-time – 1 hour 45 minutes, Director – Joel Coen

When a trio of witches (Kathryn Hunter) prophesise to Lord Macbeth (Denzel Washington) that he will become king of Scotland he finds himself pushed by his wife (Frances McDormand) to murderous extents to bring this sooner rather than later.

More often than not the biggest turn away from Shakespeare for a number of potential modern audience members is the language. It acts as a form of barrier from truly being able to access the events occurring on stage, or in the film. Back in 1996 Baz Luhrmann kept Shakespeare’s original words but brought them into the setting of the modern day. Allowing the visual style of the famous narrative to help tell the story just as well in the more up to date context. With his latest venture, and first without brother Ethan, Joel Coen doesn’t quite bring Macbeth into a 21st Century setting, not just because of the occasional look of a studio-era Hollywood production, but creates a gothic and atmospheric tale that visually strikes you and brings you into the shrouding mists that surround the handful of locations throughout the piece.

By choosing to shoot the film in black and white Coen adds an extra layer to the gothic style which emphasises the mindsets of both Lord and Lady Macbeth – both excellently performed by Denzel Washington and Frances McDormand respectively. As the two delve into murderous intentions when the former is told by three witches (all wonderfully, physically performed by Kathryn Hunter seeming like one, eerily twisting creature) that he will one day become king of Scotland there’s an easy to follow nature to the unfolding events. The potential language barrier falls down as Washington and a powerhouse McDormand – absolutely commanding the screen! – provide performances which are far from what some may deem as ‘generic Shakespeare style’. Their delivery is everything and helps to life the film and build up its atmosphere.

The expansive home in which they live, almost like a cold, stony palace in itself, is a dark and seemingly limitless place. It increasingly feels more like a prison than somewhere of warmth. The feeling of entrapment simply enhances as we see the dark thoughts and intentions that the pair spiral down into in the hopes of making Macbeth king, particularly as he finds himself encouraged and somewhat manipulated by his wife. It simply causes the environment to become colder and tenser as he questions his own actions and what he’s willing to do to fulfil what’s clearly his destiny.

It’s all paired with a strong visual style which has been finely crafted to help tell the story just as well as anything else. Sometimes it’s the strongest element, pushing across some of the creepier, bordering on horror-like, details – particularly when it comes to the effective impact of the interpretation of the witches. Such attention pays off as it helps gradually bring you into the film and the cold, grey, endless plains in which it takes place – even when indoors. From there Coen allows his two leads to truly take the stage, giving two triumphant, considered performances that capture the dark edge and heart that lies within the film – truly getting across the titular tragedy of the central two figures, and those around them. It all comes together to create something accessible that has multiple working layers to tell its story, hopefully able to connect and bring in different audience members, regardless of their connection and knowledge of Shakespeare in general, especially the original text and outline of Macbeth.

The Tragedy Of Macbeth first brings you in with its strong visual style, pushing the horror and tragedy early on and luckily managing to work throughout the film. Once Washington and McDormand demonstrate their sensational performances the possible language barrier for some is hopefully knocked down as the darkness of the piece comes into fuller effect.

Alternative Christmas Film Advent Calendar 2021 – In The Good Old Summertime

After the last couple of days of looking at family relations and charitable goodwill in and out of the home at Christmas today’s calendar entry jumps back towards the start of the week build-up to Christmas by taking a look at a growing workplace romance. A (slight) musical remake of previous calendar entry The Shop Around The Corner, 1949’s In The Good Old Summertime.

As has already been deduced, due to it appearing on the Alternative Christmas Film Advent Calendar, the title of The Good Old Summertime is somewhat deceptive. While the bookend opening and close take place at the height of summer the majority of the narrative takes place in the build up to Christmas. It’s a time when plenty of people are buying presents for their loved ones, however they all seem to be avoiding the harp-filled music shop of Otto Oberkugen (S.Z. Sakall). It’s all well and good being able to walk in and hear a song performed live on piano by store-favourite Andrew (Van Johnson) and sung by new employee Veronica (Judy Garland), however not everyone can read sheet music or play an instrument.

Yet, amongst the slight chaos and disorder of what’s being sold there’s a tight unit amongst the floor staff who have built a close bond over the years. One which, for most, isn’t disturbed with the addition of Veronica, who is employed after a chance, somewhat negative, encounter with Andrew earlier on. The relationship between the two becomes as frosty as the increasingly cold weather outside, particularly as they begin to compete for the affection of both the customers and their boss. However, behind the scenes; without either figure knowing, they’re months-long pen pals having written numerous poetic, romantic letters to each other discussing art, literature and many other in-depth, serious, intellectual topics that the other just couldn’t even begin to comprehend in real life.

The film makes the most of the Christmas setting through the standard seasonal kindnesses that are on display by various characters, and the standard workplace hopes for Christmas promotions or good bonuses, but also to boost the romantic relationship, and also lack of it, between the two central figures. The feeling runs throughout with other potential love interests, an only slightly referenced beat or two involving Buster Keaton’s lightly-seen Hickey, and the more prominent inclusion of Marcia Van Dyke’s Louise Parkson; and other seasonal relationships playing into the narrative with the boost of Christmas adding a spring into a number of the characters’ steps. Especially when attending a party of various festivities – not to mention the distractions and missteps.

As Christmas gets ever closer and the situation of the shop, and its employees, becomes more uncertain the sense of unity amongst the staff grows stronger, particularly as at least one or two of their futures in the workplace become a matter of question. Perhaps it’s an idea further pushed by the decorations which spread throughout the store, the tree with all its ornaments by the piano where so many of the musical ‘rivalries’ and bites have taken place. Either way by the time the finale arrives, truly putting the context of Christmas on full display, there’s a true festive romance within the wintery confines of In The Good Old Summertime.

In The Good Old Summertime can be watched in the following places:
Amazon
iTunes/ Apple TV
Google Play
Chili
YouTube
Or, you might have a physical DVD (maybe even Blu-Ray, VHS, Betamax or LaserDisc – if availably on such formats) copy somewhere that you can watch. To see if there are any other places where the film is available, particularly to buy, rent or stream in your own country, I recommend checking it out on JustWatch.

The Matrix Resurrections – Review

Cert – 15, Run-time – 2 hours 28 minutes, Director – Lana Wachowski

Influential video game creator Thomas Anderson (Keanu Reeves) finds himself unwillingly creating a new instalment in his ground-breaking Matrix trilogy, however he begins to re-discover the technological reality hidden in his games.

Keanu Reeves has become an iconic figure for his wistful, almost poetic views and statements on life. He’s also become one of the world’s favourite action stars thanks to his titular role in the John Wick franchise. Therefore, it’s slightly weird to see him returning to his other iconic franchise pottering around a bit like a confused old man. It’s certainly not something that runs throughout the entire film, but it does feel like famous video game creator Thomas Anderson is often just drinking in information with little else to add. Much of The Matrix Revolutions is told through the words of those around him as he is brought into the world of his smash-hit video game trilogy.

After almost being forced to create a fourth addition in the series, particularly pushed by his money-focused business partner (Jonathan Groff), Thomas begins to experience what he believes to be flashbacks to his fictional world; seeking the help of a therapist (Neil Patrick Harris) to help him distinguish such visions from reality. However, it’s not long until Thomas discovers that the Matrix was never just something from his mind as the figure of Morpheus (the ever-welcome presence of Yahya Abdul-Mateen II), fresh from what appears to be a shopping spree, brings him back in to a newly assembled team.

There’s certainly a rather meta and self-aware feel to this latest instalment in the franchise, nearly twenty years on from the original trilogy. Both of which are made points of in the initial build-up to our big re-introduction to the world. However, such feelings appear to be dropped as the narrative moves on and the film focuses on bringing back old faces to the new functions of this familiar world. After seeing a familiar face in a coffee shop both Thomas and stranger Tiffany (Carrie-Anne Moss) feel they’ve met before but have no idea where, putting it down to just seeing each other most days by the counter waiting for their respective drinks. This is much of their relationship throughout the film, not much else is done with it as we mainly focus on Reeves’ gradual discovery of his abilities within the coded world. It’s an often long road with various segue-ways and tangents for the sake of familiar elements, and lengthy discussions between characters. What’s formed is a rather rambly piece that loses the attention of the viewer as the majority of the piece feels like build-up.

Not even the action manages to properly grab you as it jumps between fights and figures in the same place. Showing the battle from multiple perspectives and angles instead of being more concentrated, engaging and in general less distracted. It pushes the lengthy run-time – which begins to be felt beyond the halfway point of the film where much of the content and conversation still feels like build-up and context to something much bigger than what we actually get.

The finale certainly holds some decent content, like one or two patches throughout the nearly two and a half hour course of the film as a whole, yet it begins to dive again as it either feels too extended or as if it’s building up to something else as a whole. In general a number of key moments in the third act feel as if they could have been placed halfway through a narrative with what feels like bigger stakes; and giving Moss more to do – although she certainly seems to be enjoying the brief bursts of action that she gets.

The Matrix Resurrections feels like something different from the rest of the series, and not always in the best of ways. Not completely bringing anything new to the table its biggest issue is that it largely feels like a lengthy build-up to something not overly satisfying. As we watch characters react with confusion to the lengthy conversations and explanations of those around them. While there are one or two moments that catch your interest in the unfolding events they come somewhat later in the day and don’t manage to connect and bring the otherwise uninvolving and disengaging nature of the film up.

After dropping the different, more meta and self-aware content early on The Matrix Resurrections loses its audience with lengthy build-up to lacking action. Its rambling nature feels unengaging and it simply doesn’t provide enough in its worlds to get truly brought into either of them.

Just A Little Bit Random Audience Best Films Of 2021 Vote

2021 was the year where the big screen truly came back. The cinematic experience was celebrated and relished once more with a whole flood of worlds to be immersed in. However, it’s also been a year where the more independent awards hits have had a consistent spotlight shone upon them. Now, as usual at this time of year, it’s time for you to have your say as to what you thought the best film of the year was.

All you have to do is vote via this poll by 6pm on Wednesday 5th January with what you thought was the best film released in 2021. The results will be announced just after 7pm on the radio show on this same date, with an article here on the website afterwards.

While 2021 saw the return of major blockbuster franchises such as the MCU (seeing four cinematic releases this year!) and Bond it shouldn’t be forgotten that the smaller films that made up awards season – such as Nomadland and The Father – also proved to be box office hits. Even films from streaming platforms such as Netflix and Amazon managed to still have plenty of word-of-mouth love shown towards them. From those with brief cinema releases; Tick, Tick… Boom! and The Power Of The Dog, to those which helped get us through the lockdown: The Mitchells Vs. The Machines and Promising Young Woman.

Whatever your personal favourite is it should be included in the poll. All films featured are done by UK release date. Hence why titles such as Nightmare Alley, Belfast and Licorice Pizza (all of which, at time of writing, have release dates for early next year) aren’t listed, and Another Round, Spontaneous and Sound Of Metal are.

A huge thanks to everyone who votes, shares the poll or both. It’s all very greatly appreciated. As mentioned, the results will be announced on a review of the year show on Somer Valley FM on Wednesday 5th January, starting at 6pm. With a piece being posted here on the website not long after.