Month / January 2021

by theactivespectator

Pieces of a Woman – Review

Rating: 15
Cast: Vanessa Kirby, Shia Labeouf, Ellen Burstyn, Iliza Shlesinger and Benny Safdie
Directed by Kornél Mundruczó
Written by Kata Wéber
Length: 127mins

Now that Netflix is most likely a lot of people’s first call when it comes to watching new releases, ‘Pieces of a Woman,’ seems to have been released at the perfect time. A film filled with incredible performances and an emotionally-charged story like this may before have been seen by some people as simply another Oscar-bait release, but now that there is a lot fewer choices when it comes to new releases, ‘Pieces of a Woman’ will hopefully get the wider reception it deserves.

After a traumatic home birth, Vanessa Kirby’s character Martha Weiss is left to deal with the emotional and physical fallout of what she has experienced as a mother. Friends and mainly family come and go throughout the film, but for a large part it’s the experiences of Martha and her partner Sean (Shia Labeouf) that the film focuses on. For anyone who feels hesitant about the drama of the film, and worries that it might be too slow for them, I would simply encourage you to just watch the first five minutes. The story grabs you immediately and I would struggle to picture anyone turning the film off during its opening scenes. The main title card doesn’t appear until nearly half an hour into the film, and I’m pretty sure I was holding my breath the entire time. What director Kornél Mundruczó manages to achieve in almost one continuous take during this time is not only gripping, but also establishes key character traits that will develop and unravel throughout the rest of the film. 

‘Pieces of a Woman’ has been widely praised for the performances that litter the film, and for good reason. Vanessa Kirby’s expressions of guilt, fear and anxiety remain consistently believable and impressive throughout. Shia Labeouf plays the broken father figure brilliantly too, but in a way that feels fresh compared to previously similar roles that he is taken up before, such as his performance in 2018’s ‘Honey Boy.’ Ellen Burstyn remains one of Hollywood’s greatest treasures, playing a role that I imagine will earn her a lot of attention throughout awards season, even with her character having fairly limited screen time. More than anything ‘Pieces of a Woman,’ feels like a showcase for great acting, and everything else in the film seems as if it’s focussing on allowing these performances to shine through. 

The problem with opening a film in such a strong way like ‘Pieces of a Woman’ does, is that you have to keep the momentum going for the rest of the runtime. The fallout of the film’s opening event is essentially what carries the story for the next hour and a half, and whilst this is a necessary element of the story to tell, there are definitely some parts which feel slightly unnecessary. It’s difficult to walk the line between realism and a narrative that will provide a satisfying or poignant end to the story, and whilst one character in particular does receive a satisfying conclusion, there are definitely some ]who seem to have a large influence on the film in the first and middle act, but simply fade out by the end. 

One of the key reasons why ‘Pieces of a Woman’ is an important story in some regards, is because it allows for discussion around the topics that play out on screen. Whilst intense and gut-wrenching at times, everything that occurs is human, and has a chance of affecting any of us in our lifetime. By creating films that cover these topics, a greater understanding and willingness to talk about these things will develop, and may provide some small relief to anyone who has experienced anything similar to what happens in the film.

It might not be the most light-hearted film in the world, but I would highly recommend giving ‘Pieces of a Woman,’ a watch. There are some great things to take away if you have a keen interest in performance, and it definitely has one of the most gripping opening acts I’ve seen in a long time.

by theactivespectator

Mulan – Review

Rating: 12A Cast: Yifei Liu, Li Gong, Jet Li, Jason Scott Lee, Chen Tang, Doua Moua and Jimmy Wong. Directed by Niki Caro Written by Rick Jaffa, Amanda Silver, Lauren Hynek and Elizabeth Martin Length: 115mins

Mulan is one of the cinematic victims of Covid:19, with it’s initial release set for March 2020 the film was postponed until the summer and then, much to the dismay of many cinema goers, released on Disney plus for a premium price. It follows the story of a young maiden who disguises herself as a male warrior to fight for the Imperial army in place of her ageing father.

When Disney announces a live action remake you can almost palpably hear the cries of half the audiences dismay at yet another remake, the fear of ‘ruining’ a classic whilst the rest of the audience celebrates at another reimagining of something magical that helped shape their childhood. When Mulan was announced it was very much the same. While it is perhaps a less popular animation, the original is filled with catchy songs, loveable sidekicks and a strong moral focus. With a live action remake that was poised to eliminate both the songs and the sidekicks, many were concerned that the remake would just be a waste of time. 

Niki Caro entrusted Yifei Liu with the titular role that comes with a quite a hefty responsibility. The character requires an authentic portrayal of strength, passion and heart without getting too headstrong or becoming a heroine of mythology that breaks the connection intended to inspire it’s focal audiences. Liu brilliantly takes Mulan through the process of rebellious and inexperienced through to a mature, commanding leader. I have heard some comment on the lack of heightened emotion but I think that this was a solid choice that lends itself to the action. 

Caro interweaves the story’s ancient poetic roots with nostalgic moments from the 1998 animation, but it’s very much its own artistic endeavour. You can tell Caro’s intention for this film through her choices, the focus being very much on female empowerment. The director highlights women standing up for themselves and each other and demanding that men hear and believe them. As family-friendly as it is,  the film also carries the unmistakable spirit of the #MeToo movement. This is so brilliantly done with lessons and reminders for every age group.

I’ve been really impressed with the Disney remakes so far and I surprised myself by finding Mulan topping the list as my favourite. It feels so important whilst being thoroughly entertaining, there’s a clear line between that which was included for the sake of the story and that which was included for the sake of humanity. Mulan couldn’t be more relevant, vital, and alive today. Mulan’s feminine strength was what made her an outcast in this male-dominated world, but one of the key lessons lies within the fact that Mulan can’t achieve her own full potential until she’s fully honest about her identity. It’s truly a shame that this film wasn’t able to release in cinemas, what a joy it would have been for a generation of young girls to watch and learn together. Covid:19 took away the chance for youngsters to look around a filled theatre, to see potential in the others around them as well as themselves. But hopefully the film will be seen, the lessons will be learnt and a spark of passion will be ignited with the help of this brilliant film.

“Loyal. Brave. True.”

by theactivespectator

Lovers Rock – Review

Rating: 12A
Cast: Amarah-Jae St Aubyn, Micheal Ward, Shaniqua Okwok, Kedar Williams-Stirling, Ellis George
Directed by Steve McQueen
Written by Steve McQueen and Courttia Newland
Length: 70mins

The first of Steve McQueen’s ‘Small Axe’ series – an anthology of films released through the BBC at the tail end of last year – ‘Lovers Rock’ is probably the closest anyones going to get to a party for the next few months. Set in London during the early 1980’s, for the entire seventy minutes of the film’s runtime, you become completely engrossed in the celebrations as they play out on screen, feeling every change in rhythm and song.

The story’s concept is fairly simple – following a few key characters as they enjoy their night out. However, the execution is entirely different, with moments of joy and intrigue being portrayed through a wide variety of film and story devices. McQueen knows exactly when to draw back from the high intensity of the party and allow characters to have more intimate moments, before bringing the sound and movement back together in a crashing wave of energy. 

McQueen has clearly shown himself as the master of either celebrating or highlighting the stories of people of colour in cinema, particularly in his 2012 release, ‘12 Years a Slave.’ The ‘Small Axe’ series looks to further explore and celebrate black culture, and whilst this will mean delving into stories of prejudice and hatred, ‘Lovers Rock’ feels like the perfect way to begin the anthology. It’s a film of pure joy and energy, and whilst there are a few cracks that show moments of bigotry and hate, for almost the entire runtime the viewer is drawn into a world of celebration. 

Everything in this film works to immerse the viewer in the party that’s taking place, with the camera gliding effortlessly from one character to the next, and the soundtrack playing one great song after another. Despite there not being too much time for overt character development, you still feel engaged in the stories of those at the party, with particular traits being shown within different people, allowing the story to feel believable throughout and preventing the audience from ever feeling as if the energy of the party has lost its momentum.

Overall, I would definitely recommend ‘Lovers Rock’ to anyone looking for something to watch. With its short runtime and joyful, high-energy story making it less of a film and more of a party in your living room – exactly the kind of thing that’s needed during a global lockdown.  

by theactivespectator

Let Him Go – Review

Rated: 15 Cast: Diane Lane, Kevin Costner, Kayli Carter, Lesley Manville and Will Brittain Directed by Thomas Bezucha Written by Larry Watson (Novel) and Thomas Bezucha (screenplay) Length: 113mins

While for the majority of 2020 the cinemas were shut and films weren’t being released, a few films crept out to market during the short periods of time that they could hit the big screen. Thomas Bezucha’s Let Him Go was released towards the end of the year and, despite the draw of Kevin Costner, went widely unnoticed. A story of a retired sheriff and his wife, filled with grief after losing their son, journey through the emotional tug of whether they’re prepared to let their grandson go once their daughter in-law remarries. 

It was such an odd time of year to release this movie, while any cinemas that were open were showing festive reruns and Christmas classics it’s such a contrast to throw Let Him Go into the mix. I don’t pretend to know the complexities of getting a feature released, especially during 2020, but this just seemed like a very unusual choice. Though I’m supportive of any production company prepared to release films despite the financial implications of a pandemic in an attempt help keep the industry afloat, I fear the timing may have done this film more harm than good. 

The plot is solid, it’s peaks an interest with several possibilities of where it could go. However there was a turning point for me about two thirds in – to avoid spoilers I wont discuss it in detail but I felt like there was a moment of high emotion, the build of anticipation was brilliant, but then a choice that changed the trajectory of the plot ruined it for me. I feel like some choices to shock the audience can detract from any work of building tension, then the final third seemed unrealistic and a bit ridiculous. 

That being said, the cast of this film were faultless. I don’t say that lightly but every single character had depth and weaved through stereotypes in a way that delivered the desired effect upon it’s audiences while still creating a unique persona. While Kevin Costner was unsurprisingly brilliant and Lesley Manville created this quietly terrifying villain it was Diane Lane who shone. She was phenomenal, I love to see a flawed character that still manages to get the audience on side and can share her characters emotional journey throughout each moment of the film. 

Unfortunately, for me this film was a heavy, dark piece that was released at the wrong time of year and shot off in a direction that destroyed my interest by a choice meant to shock. It’s arguably worth watching for the character depictions, but other than that I don’t feel that it will particularly entertain, provoke thought or change the lives of it’s audiences.

by theactivespectator

Wonder Woman 1984 – Review

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Rating: 12A Cast: Gal Gadot, Chris Pine, Pedro Pascal, Kristen Wiig and Robin Wright Directed by Patty Jenkins Written by Patty Jenkins, Dave Callaham and Geoff Johns Length: 151mins

Returning to the big screen for a limited audience around the world, the sequel to 2017’s hugely successful ‘Wonder Woman’ finds Gal Gadot’s character distancing herself further and further from those around her whilst the rest of the world delves further into Hollywood’s interpretation of the 80’s, with shopping malls, yoga pants and grandiose hairstyles around every corner. Appropriately, the villain of the story achieves his power through commercial greed, and in true superhero fashion, it’s only Wonder Woman who can stop him. 

Perhaps the boldest – and most marketable element of the film – is the aesthetic. This could easily be attributed to the current nostalgia-fest which plagues Hollywood, with multi-colour tinted glasses allowing for a fond recollection of the 1980’s, and all of the eccentricities which come with it. Shows like ‘Stranger Things’ have found huge success in recent years through this choice of setting, and it’s no surprise that as a result more releases are cashing in. However, the original ‘Wonder Woman’ comics date back to 1941, and the first film takes place in 1918, so it’s not entirely unbelievable that the film might take place in this decade. Through the advertising for this film, it appears as if the viewer is promised a trip back in time, and the film certainly delivers as much in the first half an hour or so, with camp dialogue and glamorous commercialism littering the story. However, by the end of the film, we’re returned to the safety of dull aesthetics and predictable settings that many superhero films seem unable to escape. The inconsistency of the visuals is not exactly detrimental to the story, but when including the setting in the actual title of the film and basing the entire marketing campaign around cliches of the 80’s, it feels as if the creators could have had a little more fun throughout the entirety of the film, rather than just going all out in the first act, and then slowly fading back into the usual superhero story.

Although some superhero films deliver much more, it’s widely agreed that the main aim of these films is to entertain. In the case of ‘Wonder Woman 1984’ this is relatively accurate. At this point in cinema’s history, when superhero films are what fills the seats most at cinemas, you would imagine that the creators would feel a responsibility to try and evolve the genre as it goes on. Despite this, ‘Wonder Woman 1984’ doesn’t feel as if it has anything new to offer in terms of the entertainment that it provides. Moments of action never seem especially gripping or visually impressive, and if anything, the stakes of the film feel as if they’re even lower than the first ‘Wonder Woman.’ 

The saving grace of this film undeniably comes from Pedro Pascal’s performance as Maxwell Lord, the corrupt businessman who will do anything to achieve financial domination over his competition. The charisma and twisted charm that Pascal brings to his character creates the most engaging moments of the film, with each of his scenes bringing life to a story that is ultimately fairly forgettable. 

Although this might not be the most complimentary of reviews, seeing ‘Wonder Woman 1984’ on the big screen brought back all of the charm that comes from going out to see a film in the cinema. Hopefully this is something we can all look forward to in the future, and if you have the chance to support your local cinema, you definitely should.