REEL

Category: Oscars

  • 2023 Best Picture Nominees Ranked From Worst to Best

    2023 Best Picture Nominees Ranked From Worst to Best

    Now that the 95th Academy Awards are over everyone finds themselves in a state of quiet, eagerly anticipating 2023’s releases or, like us, reflecting on the winners of the big night. Whether or not you agree with the awards it’s safe to say that this year’s nominees for Best Picture were an eclectic group of films all bringing something different to the table. From franchise epics to dark comedies, from war films to music biopics, you cannot deny the quality on show. But, even though all the films were individualistic, some were better than others. Here is our ranking of the Best Picture Nominees from worst to best. 

    10. Avatar: Way of the Water 

    Most of the naysayers of James Cameron’s epic Sci-Fi sequel have been silenced as the film became the 3rd highest grossing film of all time. Absolutely nothing can take away the huge financial success of Cameron’s 3-hour water adventure, but, for all the vast landscapes, exciting action and visual wonder it offers, the film still gets bogged down by what plagued it’s predecessor. 

    For all its otherworldly qualities the film’s biggest problem is in its humanity. The multitude of characters, and their stories, feel like mere splashes in the ocean Cameron has created for us. While the visuals deservedly won big on Oscar night, there really isn’t enough consistency in Avatar’s vast 3-hour runtime, making the journey feel like a slog more so than the thrill-ride everyone was promised. 

    9. Triangle of Sadness

    Ruben Ostlund’s third feature had early signs it may follow a similar trajectory to the one Parasite had 4 years ago. Winning the Palme D’Or and getting nominated for a number of other awards across the globe, it looked like Ostlund would be celebrating deep into award season for his film. However, with no wins at this year’s Academy Awards, Triangle of Sadness has faded into the darkness as far superior films took the spotlight. This may just be circumstantial but arguably it’s because, despite being captivating in parts, this is Ostlund’s weakest effort.

    When compared to The Square and Force Majeure, both of which have an enigmatic quality to their stories, Triangle of Sadness regularly smacks you on the head with its themes. Even when Ostlund is showing us some of the finest direction of the year (particularly in the dinner scene on the boat), it still gets dragged out to the extreme – hitting home ideas that were already communicated 10 minutes before. Having said that, Ostlund remains one of the most interesting filmmakers working today and despite Triangle of Sadness feeling weaker than his other efforts, there are still moments of brilliance scattered throughout.

    8. The Fabelmans 

    The biggest takeaway from Spielberg’s reflective life story is that the Director has never lost his touch. Sure, some of his more recent ventures pale in comparison to Schindler’s List, Jurassic Park and Jaws, but his understanding of the medium and how audiences connect to it are the shining light in The Fabelmans. Scenes in which Sammy Fabelman watches his audience react to his films are wonderfully constructed, making it clear that the legendary director has never lost his love for cinema. 

    However, this film was always going to border on the self indulgent. If you compare this film to the reflective efforts of Cuarón’s Roma and Brannagh’s Belfast, The Fabelmans struggles to find a core reason to tell its story. Its backdrop dabbles with elements of depression, anti-semitism and bullying but never fully explores them and while Spielberg is telling the story with his heart on his sleeve, it still can’t find a genuine reason for the story it’s telling.  

    7. Top Gun: Maverick

    One of the year’s biggest surprises was the quality on show in David Kosinsky’s sequel to the cheesy 80’s classic. While it still adheres to its predecessors rules of topless sport and needless high-fiving the film’s technical aspects very often leave you in awe. The sound, visual effects and action set-pieces are wonderfully put together to create so much energy and tension – but the most surprising part of this sequel is the emotional attachments it holds to the first film. 

    Tom Cruise’s performance as Maverick is reflective and softer while never losing the rashness of the character, and the emotional beats between Maverick and Goose’s son (named “Rooster”) win you over every time. This could have so easily turned into just another sequel, but Kosinsky’s controlled direction and modern approach make for a mature follow up that surpasses the original with ease. 

    6. Elvis

    Over the past few years we’ve had a slew of mediocre music biopics, often boasting a great central performance but never understanding their subject, which makes it a delightful surprise to have a film like Elvis come along. Baz Luhrmann took the story of an icon and told it with the energy and glamour that make the Director so distinct. But, what’s even more impressive is how the film understands just how emphatic Elvis Presley was as an icon. 

    The film is by no means perfect, with Tom Hanks not quite hitting the mark as well as his co-stars, but this should be the definitive blueprint for music biopics to come. From his room-shaking begins to the darker days of his time in Vegas, Elvis tells us the story while never forgetting to inject the passion and personality that made Elvis Presley one of the most iconic performers of all time. Also, it’s impossible not to be impressed by Butler’s spellbinding performance.

    5. Women Talking 

    Sarah Polley’s chamber piece rightfully took home the Best Adapted Screenplay award for her talky adaptation of Miriam Toews novel. The script that Polley wrote is a beautiful balance between character, theme and discussion, lending personality and importance to create one of the most timely films of the year. 

    While Polley’s script is what shines the most it cannot be understated how important her direction is. Instead of being flashy and overbearing she opts for quiet and observational direction that allows her characters to shine with their own heartbreaking individuality. Like all great chamber pieces, Women Talking densely packs its small setting with so much – leaving you eternally affected by the film’s outcome. 

    4. All Quiet on the Western Front

    Edward Berger’s adaptation of Remarque’s novel takes a modern approach in its filmmaking to really hit home the timeless themes of the classic source material. Every battle scene is wonderfully constructed in order to capture the “War Is Hell” mantra of the film while never losing those individual struggles we see from the leading characters.

    There are different threads that the film pulls on that don’t work quite as well as the core story, but these merely provide extra layers to a film that’s already packed densely with story. War films have to really do something special to stand out these days and Edward Berger has ensured that his film stands head and shoulders above a lot of films of a similar ilk.

    3. Tár

    At times Todd Fields’ near 3-hour character piece can feel strenuous. The script never hides away from the world it’s set in, often allowing long stretches of dialogue about Classical music to play out in front of its sturdy camera, but the film succeeds because of its subtle character evolutions. You’d be quick to dismiss this film as a discussion on “cancel culture” or even the separation of Art vs. Artist, but really what it’s doing is building everything into its central character.

    Smartly made and marketed like a biopic, the film takes a grounded approach of talking about people who are considered otherworldly. Every action, conversation and thought Lydia Tár experiences is slowly etching away her mythical persona as one of the greatest composers of all time – until it all implodes in glorious fashion. The film will likely be remembered for Blanchett’s wonderful performance, but there is a quiet complexity to Tár that stays with you for a long time. 

    2. Banshees of Inisherin

    Martin McDonagh’s newest film is arguably his finest work. In Bruges loyalists will always argue against that, but McDonagh’s signature style has never felt more fluid than in Banshees of Inisherin. Not only that, but the razor sharp humour wonderfully compliments the quiet melancholic tone – as well as the allegory for the Irish Civil War.  

    McDonagh surrounds himself with the familiar faces of Colin Farrell and Brendan Gleeson who, along with the addition of two wonderful performances from Kerry Condon and Barry Keoghan, anchor this film’s themes perfectly. The chemistry seeping from every scene shared between the cast amplifies the humour but also gives the film a sense of community, reaffirming the bigger questions of death and legacy, as well as the impact we have on those around us. 

    1. Everything Everywhere All At Once 

    Easily the most original and unpredictable film of the year – maybe even of the current decade – The Daniels’ bizarre vision of the multiverse is told with veteran control. You easily find yourself in awe of the film’s barbaric narrative, but what’s even more impressive is the it’s ability to find so much heart at the centre of its chaos. 

    Amongst the confetti action, hotdog fingers and hundreds of other elements The Daniels pack into their film there is a quietly controlled narrative between Mother and Daughter, exploring their lack of connection and the solace they find in that shared experience. It’s a narrative that is extremely hard to balance at the best times but doing it with so much craziness surrounding it – as well as challenging a suffering marriage as well – is why this film easily stands as the best film nominated for Best Picture. Everything Everywhere All At Once won big at the Oscars and for the first time ever there isn’t a soul out there that can argue against with the wins. 

  • 7 Great Films Snubbed at the 95th Academy Awards

    7 Great Films Snubbed at the 95th Academy Awards

    This year’s Academy Awards was a controversy-free celebration. Many of the awards handed out went to deserved winners, there were feel-good moments as Ke Huy Quan and Brendan Fraser accepted their awards after years away from the spotlight and there was no doubt that Everything Everywhere All At Once’s historic 7 wins were warranted. But, like all years at the Oscars, there are some omissions that deserved to be included. While we think this year’s winners were a wonderful collection of films, it would be remiss of us if we didn’t talk about some of the great films that were barely included. 

    1. Decision to Leave

    Director: Park Chan-wook | Crime, Drama | Language: Korean

    Arguably one of the best film’s from 2022, Chan-wook’s unique Crime Drama solidifies why he’s one of the most distinct Directors working today. The zippy pace and attention to detail are what hook you to Decision to Leave but the Director’s approach to storytelling is wholly unique – even when compared to the films nominated at this year’s Oscars. 

    Park Chan-wook’s storytelling is akin to that of Paul Thomas Anderson, while they are both dramatically different in style both filmmakers often tell their stories with an enigmatic quality that, although you’re not sure how or why, you are left completely in awe of the talent on show. Decision to Leave may not be as groundbreaking as Oldboy or as pitch-perfect as The Handmaiden, but it still stands head and shoulders above a lot of films released in the same year and while it’s been nominated numerous times over the award season, it feels like a shame not to see it honoured on the big night. 

    2. The Northman

    Director: Robert Eggers | Action, Drama

    The only logical reason that Robert Egger’s Viking epic could have been snubbed entirely for this year’s Academy Awards is that it was released so early in the year that it slipped everyone’s minds come voting season. Whether it was the striking score, beautifully constructed sets shot with stunning cinematography, captivating performances not only from the lead Alexander Skarsgard but Nicole Kidman, Anya Taylor-Joy, Ethan Hawke and Willem Dafoe, to the bold and inventive directing, there’s so much worthy of high praise.

    Arguably the only aspect lacking compared to Egger’s previous outings is a uniqueness that something like The Lighthouse held – but it’s no excuse for excluding one of the best films of the year from the Oscars, especially when there is so much across the film’s production to celebrate.

    3. Nope

    Director: Jordan Peele | Horror, Sci-Fi

    It’s difficult to pinpoint where exactly Jordan Peele’s newest film fits into the Oscars, potentially for its enigmatic screenplay, wonderful creature design or even for the scene stealing performance by Keke Palmer. But, regardless of where it fits, it seems a shame not to honour such a unique film. 

    The natural response to seeing one of his films is to compare it to Get Out, the film that won Peele his Oscar and became one of the most important films of the 21st Century. While Nope doesn’t feel as instant in its quality there is good reason to believe that in a few years, audiences will relish Nope for its singularity and also for Peele’s aptitude for storytelling. This is a wonderfully complex, funny and incredibly tense film that despite being snubbed for a lot of awards, will hopefully gather an audience for years to come.

    4. The Woman King

    Director: Gina Prince-Bythewood | Action, Drama, History | Languages: English, Portuguese

    Gina Prince-Bythewood’s historical tale got two nominations at the BAFTAs, one for star Viola Davis’ powerhouse performance and also a nod for the Director herself, leaving to wonder just why it was left out at the Oscars. Davis’ performance, while commanding, was up against a number of fantastic Leading Actress performances this year. But, Bythewood’s lack of nomination seems to be a misstep from the Academy. 

    2470911 – THE WOMAN KING

    There is an argument that structurally The Woman King isn’t much different from a number of action films we’ve seen but what’s more important is the representation and celebration it’s giving to it’s story. In recent years the world has been imploring Hollywood to create more diverse and dynamic roles instead of changing old ones and The Woman King does exactly that. It’s just a shame the Academy wouldn’t celebrate the film as much as we did.

    5. Broker

    Director: Hirokazu Kore-eda | Comedy, Drama, Crime | Languages: Korean

    Many people have compared Hirokazu Kore-eda’s latest film to his 2018 drama Shoplifters. In some ways it’s a spiritual successor (Kore-eda himself calling it a companion piece), skirting some of the same themes of class structure and social standings, as well as the functionalities of family and what makes a ‘traditional’ family. Broker manages to talk about these same issues as well as infusing discussions of parental responsibility whilst keeping the mood light and fun – no easy feat.

    Alongside this, Kore-eda somehow manages to make you sympathise with human traffickers – not the most malicious or intelligent, but pursued by the police for their crimes nonetheless. It might not be the home run Shoplifters was, but Broker still manages to inject some incredibly human and joyous moments in a strange tale of selling a child, all in his non-native language of Korean, not missing a step in cultural references either. Whether it was for Best International Film, Original Screenplay, or even an argument can be made for Best Director, the Academy missed a gem of a film this year.

    6. Aftersun

    Director: Charlotte Wells | Drama

    Charlotte Wells’ nostalgic drama is less of a snub due to Paul Mescal’s touching performance getting a nomination, but the film’s quality lies in much more than its performances. At the BAFTAs the director accepted the award for Outstanding Debut and described the film as a eulogy to her Father – something that she achieves with a visceral and subtle reflection of watching someone you love suffer in silence.

    As a distinctly British product it’s understandable that this film didn’t shake the Academy voters as much as the BAFTAs, but the film’s gorgeously told story is one of the best of the year. Many films that tell a ‘personal’ story rarely achieve the emotional connection that Aftersun achieves, and while it was a shame not to see more limelight shed on the film as a whole, there is no doubt that everyone will be eagerly awaiting what Wells does next.

    7. Bones and All

    Director: Luca Guadagino | Drama, Horror, Romance

    The most obvious reason for not including Luca Guadagino’s latest film could be the fact it’s a love story road trip about cannibals – but it’s for that same reason it seems like a missed opportunity to open up the wonderfully weird story to the mainstream. With films like Everything, Everywhere All at Once making waves it seems like the Academy are changing their tone to quirky independent cinema, branching into the originality out there.

    Whilst it might not have won many awards the performances from Timothee Chalamet, and more notably Taylor Russell and Mark Rylance, are enticing and exciting, bringing a grounded and relatable edge to a story that could have easily been disconnected and unrelatable. Guadagnino balances David Kajganich’s script with ease and a certain aesthetic beauty that many people first noticed in Call Me by Your Name – despite being in an unusual narrative, comes together in an intoxicating (and sometimes terrifying) coming of age tale.

  • The Fabelmans (2022) – Reel Review

    The Fabelmans (2022) – Reel Review

    Director: Steven Spielberg | 2h 31 mins | Drama

    A young and aspiring filmmaker tries to navigate his childhood and chase his dreams, while his family begins to fall apart around him.

    Over the past few years acclaimed Directors have reflected on their lives. Alfonso Cuarón took us on a thought-provoking journey through 1970’s Mexico with Roma, and more recently Kenneth Brannagh put his showy direction aside and showed us a more vulnerable part of his filmmaking in Belfast. Now it seems Steven Spielberg wants to tell his story, navigating his own childhood and reflecting on the relationship between his Mother and Father. 

    There is a fine line to work when exploring your own story as a Director, trying to avoid self-indulgence while giving a real reason for the story you’re telling. In Belfast Brannagh achieved this by giving his film a more political backdrop but The Fabelmans struggles to find that key element that separates the film from being indulgent. However, Spielberg remains the master at creating ‘movie magic’ – something he establishes in the early scenes of his biographical drama. 

    The first scene of the film sees fictional Sammy Fabelman on his first trip to the cinema with his parents, ultimately scared but also blown away by The Greatest Show on Earth. He then follows it by trying to film his own train crashes in order to control the fear, awakening an early connection to filmmaking. Watching that ‘wonder’ that young Sammy sees in these early scenes is intoxicating, seeing a love of cinema through the lens of a Director who is responsible for some of cinema’s most awe-inspiring moments is The Fabelmans’ most endearing quality. 

    As Sammy grows older and reaches his teens, the family follow their engineering Father from city to city as he climbs the ladder of his industry, unaware that his wife is longing for a life she has left behind. Spielberg and Tony Kushner’s script delicately translates the depression through the eyes of Sammy more so than his Mother, but Michelle Williams boldly steals the show multiple times playing a woman having to mask her pain with such a flamboyant facade. 

    Having said that though, The Fabelmans often wrestles more subjects than it can handle. The film is much more comfortable showing us the awe-inspiring filmmaking moments more so than anything else, and while the stories about depression, antisemitism and bullying are by no means brushed to one side, they merely dangle like loose threads at the bottom of the tapestry Spielberg is weaving. 

    This film is almost certain to be divisive, but as a love letter to cinema it still conjures some wonderfully crafted moments. The script sometimes dodges its harder subjects and the film may even verge on self-indulgence, but Spielberg remains the master of awe-inspiring cinema – showcasing some of his best techniques and reminding us why he’s sat at the top of Hollywood for so many years.

    Rating: 4 out of 5.
  • Puss in Boots: The Last Wish (2022) – Reel Review

    Puss in Boots: The Last Wish (2022) – Reel Review

    Director: Joel Crawford, Januel Mercado | Runtime: 1h 42mins | Animation, Adventure, Fantasy

    When Puss in Boots realises he’s burned through 8 of his 9 lives, he embarks on an adventure to find the mystical “Last Wish”. 

    After a few disappointing sequels and spin-offs fans longed for the days of Shrek and Shrek 2, when the franchise was at the height of its popularity. It seemed like nothing would recapture that magic but, lo and behold, in swings Puss in Boots: The Last Wish with a fresh energy that not only revitalises the Puss in Boots character, but may very well be one the most enjoyable action films of the year. 

    The new kineticism found in the action is instantly noticeable in the surging heroism of the film’s opening sequence. As Puss defeats enemy after enemy, swinging from a bell tower to defeat a monster, it reminds you of a similar energy that Lord and Miller perfected with Spider-Man: Into the Spider-Verse – although Puss in Boots finds its own voice from the central character and its sun-kissed backdrop. 

    The world in which Puss embarks on his adventure is rendered beautifully, but as the film falls more and more into the fantastical, the dusty Western motifs quickly change and the wilder elements of the world shine through. It’s here, in a mythical “Dark Forest”, where all the characters, enemies and allies, are faced with their own thematic challenges – but it’s Puss’ struggles with his own mortality that make this film far deeper than it has any right to be. 

    After years of living on the edge Puss in Boots has recklessly lost 8 of his 9 lives. It isn’t until he’s met by a mysterious Bounty Hunter that the fear kicks in, leading him on an existential journey – challenging legacy vs. happiness while also coming to terms with the inevitable end we all must face. It’s ironic that such a drastically different film of the same year, Martin McDonagh’s Banshees of Inisherin, challenges similar themes of legacy and what we leave when we die – but in a way it speaks volumes about the universality of the message and how despite being so different in audience and tone, the themes really can strike a cord no matter the style. 

    As Puss, old flame Softpaws and new friend Perrito head further and further into the “Dark Forest”, hot on their tails are the enemies made along the way. As well as the aforementioned Bounty Hunter tracking Puss’ every step, they are being hunted by Goldilocks and the three bears (voiced by an all-star British cast) and Jack Horner. While Horner is more throwaway as the irredeemable evil, it’s Goldilocks’ narrative, of finding a ‘normal’ family instead of the bears, that brings even more warmth and togetherness to an already wholesome story. 

    Much like Soul did two years ago, Puss in Boots: The Last Wish understands its audience while being unafraid to discuss a more poignant story about death, and what we leave behind. Its challenging themes sit wonderfully against the energetic animation style and despite the link to the Shrek universe still playing a big part in its characters, this film deserves to stand on its own four paws.

    Rating: 4 out of 5.
  • Aftersun (2022) – Reel Review

    Aftersun (2022) – Reel Review

    Director: Charlotte Wells | Runtime: 1h 42mins | Drama

    Sophie reflects on her relationship with her Father, specifically reliving a holiday they took together when she was only 11 years old. Here, her Father promises her the best holiday she’s ever had, while struggling with his own demons privately. 

    There is an instant sense of nostalgia in Wells’ feature debut, the sun-kissed imagery of pool-side relaxation and the tranquillity in which she captures the film effortlessly evokes our own memories of the classic British holiday. But, what’s incredibly impressive about Aftersun is, in the film’s stillness, it captures a portrait of two characters both drastically changing in their own way. 

    Sophie is an 11-year old who’s hormones are kicking in. She often finds herself staring at the older kids as they drink, get together and socialise – half wanting to join them and half wanting to awkwardly watch. Her story of self discovery is the most likely to unlock the nostalgia in you, as the film continually finds reflective aspects with Sophie and other children, understanding how important these memories are and how fondly we remember them. But, more importantly, they show how she is growing as a young girl while never quite understanding what her Father is going through.

    Judging from the surroundings, Aftersun is set in the 90’s, a time when mental health wasn’t so easily spoken about. Calum, a fragile man who’s self-worth is at its rock bottom, suffers in silence while trying to provide an unforgettable experience for his daughter. Scenes in which Calum is curled over hauntingly crying in solitude truly are heart wrenching, and the film’s jumps in time suggest that it’s already too late to help. 

    An older Sophie appears frequently in a running motif, trying to reach her Father in a strobe-lit crowd in an effort to pull him from the darkness. The film is chock-full of delicate symbolism, littering it across the entire runtime with grace and intelligence, but there is a particularly affecting scene in which the strobe-lit dance floor is juxtaposed with Calum and Sophie dancing on their final night on holiday. Not only is it harrowing to watch so much delight be paralleled by so much pain, but it shows that Wells has a seasoned eye for capturing so much by doing so little. 

    Frankie Corio is a revelation as Sophie, she’s expressive with the child-like wonder and mature enough to explore the complicated parts of her character. But, it’s Paul Mescal’s performance as Calum that anchors the darker places in which the film goes. He’s effortlessly fluid and excitable as the fun-loving Dad, but he’s able to capture the suffering lurking below pitch-perfectly. 

    It seems as though what’s capturing audiences the most about Aftersun is the performances, but it cannot be understated just how rare of a film this is. It’s ability to be so devastatingly real while exuding so much warmth and nostalgia is unlike anything you’re likely to see – it’s safe to say Charlotte Wells has become a Director to watch.

    Rating: 5 out of 5.
  • Avatar: The Way of the Water (2022) – Reel Review

    Avatar: The Way of the Water (2022) – Reel Review

    Director: James Cameron | 3h 12mins | Sci Fi, Adventure

    Living peacefully with his family on Pandora, Jake Sully must fight to protect his loved ones when humans return to the planet.

    It’s been 13 years since James Cameron’s first Avatar was released to the world. The visual phenomenon became the highest grossing film of all time upon release, somehow luring an audience bigger than any movie ever. The question of ‘how’ or ‘why’ the film got so much attention is still a mystery to this day, aside from the visual spectacular it offered, there was nothing particularly groundbreaking in its “Dances With Wolves in Space” plot or in its stale dialogue. The sequel – either long awaited or dreaded depending on who you are – bolsters the same enchanting visual style of the first film but can’t help but fall victim to the same staleness. 

    The biggest change to The Way of the Water, as the title suggests, is the aquatic realm of Pandora we get to explore. As Jake, Neytiri and their four children leave the forest to find solace in the water tribes, the best parts of the bloated 3 hour and 12 minute runtime are found when Cameron is showing us the spectacle of this new place. The sheer beauty and detail of the creatures lying beneath the water’s surface merits a trip to the cinema on its own, and no matter how drab the human elements of Cameron, Jaffa and Silver’s screenplay are, the quality of the visual effects is outstanding. 

    With such a long runtime the film needs to pad itself out with numerous new characters. The biggest addition to the cast are Jake and Neytiri’s four children who feel more like the main characters as the film goes on. In particular Lo’ak, the second eldest son and the Pandorian equivalent of an angsty teen and Kiri (voiced by Signourney Weaver putting on a child’s voice), an adopted child who feels a deep connection to the spiritual side of Pandora, are the closest thing the film comes to an emotional engagement. Their stories feel a little more grounded in the epic tale Cameron is telling, however, these stories begin to get lost in the films grandeur – making the character work just as fleeting as the first film. 

    For all of the beauty and new exploration in the world of Pandora what remains the same is the threat. The Humans (or “Sky People”) feel like clones of the first Avatar, while as a force they are larger and more equipped it’s their motivations are the same. They still talk to each other with a misplaced machismo, something which feels distinctly 80’s James Cameron but here it feels stale, much like the characters delivering the dialogue. The most fleshed out villain is a returning Stephen Lang as Quadritch, a villain that despite being given a proper arc, still remains relatively lifeless even in his avatar skin. 

    Despite the fact that Avatar’s success has always remained a giant question mark, it does have to be applauded visually. Much like its predecessor Avatar: The Way of the Water deserves the same plaudits – boasting a slick and jaw-dropping visual experience that stands as a technological achievement on its own. However, the stretched out runtime, poor dialogue and odd pacing often make this ‘epic’ flawed at best.

    Rating: 3 out of 5.
  • Banshees of Inisherin (2022) – Reel Review

    Banshees of Inisherin (2022) – Reel Review

    Director: Martin McDonagh | 1h 54mins | Comedy, Drama

    Padraic and Colm find themselves at an impasse when Colm abruptly ends their friendship. When Padraic wants answers, it leads to irreversible consequences for the both of them.

    There is something wildly unpredictable about a Martin McDonagh script, his jet black sense of humour very often delivers absurdity after absurdity but one thing that is always present is a tone unafraid to delve deeper. McDonagh’s last film, Three Billboards Outside Ebbing Missouri, encapsulates this better than most – but returning to his Irish roots, and teaming up with In Bruges stars Colin Farrell and Brendan Gleeson, the director’s talents have never looked more at home than they do on the coasts of Ireland. 

    To be more specific, the island is Inisherin – a place surrounded by vast greenery where its inhabitants spend most days in the single pub the island has to offer, talking about nothing and merely existing. When Colm, played bitterly by Brendan Gleeson in consistent form, decides he’s had enough of the mindless chatter offered to him by Padraic, he dryly announces “I just don’t like you no more.” It’s a simple set up, one that makes you question where this film is going, but McDonagh’s script is about so much more than its simple plot, exploring loneliness and lacing it with existential dread. 

    In the vastness of Inisherin, the luscious greenery quickly turns into an empty reflection of its characters. Colm’s obsession with musical legacy locks horns with Padraic’s simple joy of daily surroundings, and Padriac’s sister Siobhan (played excellently by Kerry Condon) encompasses the entire population of the island and their longing for more. The dreary undertone has become a quintessential part of McDonagh’s storytelling, arguably joining The Coen Brothers as one of the best filmmakers who’s able to blend humour and darkness so impeccably. 

    McDonagh and Cinematographer Ben Davis are able to capture both the beauty and emptiness of their setting. Every shot captures the inescapable path that people must walk, as most of the characters begin to rethink their existence on the dreary island every shot allows us to see the loneliness they really feel. While McDonagh films are all shot wonderfully, Banshees of Inisherin feels fresh because of its minimalism, opting to quietly focus on the limited surroundings all while accentuating the themes. Not only that, but the gorgeous shots of the landscape, accompanied by a dreamy score, make the story feel like a parable more so than anything else. 

    Colin Farrell’s performance as Padraic is terrific, while the character’s naivety is wholesome enough Farrell adds an element of warmth to it. As an actor he has shown a lot of variety in the past few years, collaborating with Yorgos Lanthimos and Kogonada, but he never looks more at home than playing one of McDonagh’s deadpan and earnest characters. He’s also surrounded by a number of standout performances, as mentioned Brendan Gleeson is in consistent form, as well as Barry Keoghan adding sensibility to a role designed for humour and irritation. McDonagh is surefire to get recognition come this award season, but there will be no shock to see its stars highlighted as well. 

    Whether it be the humour or the quiet themes, Banshees of Inisherin showcases Martin McDonagh at his best. Its parable-like tale and rich backdrop elevate the dreary undertone and the script’s humour is dry as you’ll see, this is one of the best films of the year and arguably, one of the finest from the directors catalogue.

    Rating: 5 out of 5.
  • Everything Everywhere All At Once (2022) – Reel Review

    Everything Everywhere All At Once (2022) – Reel Review

    Director: The Daniels | 2h 19mins | Action, Adventure

    An aging Chinese immigrant becomes embroiled in an adventure exploring the multiverse. In order to stop an unknown evil she must connect with other universes and the different lives she’s could have lead.

    When you think ‘multiverse’ the mind jumps to the recent blockbuster endeavours by Marvel as they use the term freely to interject fan service into their films. When you think ‘multiverse’ by The Daniels, Daniel Kwan and Daniel Schienert who directed the bonkers but brilliant Swiss Army Man (2016), the mind wonders just how wild and inventive the directors can get with such a vast concept. Luckily for us, Everything Everywhere All At Once delivers as promised – a fun and barbaric shot of originality that asks big questions even in its craziest moments. 

    The story revolves around small business owner Evelyn Yang (Michelle Yeoh) trying to keep her business afloat until she’s interrupted by an alternate version of her husband, who opens her mind up to the possibilities of the Multiverse as well as the task of saving it. The film is very good at sticking to its own rules even down to the minute details – with everything feeling somehow disjointed and random while always feeling connected. That’s down to a script that, on the surface seems chaotic, but has been procedurally stitched into the fabric of the film’s world. 

    The Daniels compliment every twist, turn and timeline jump with high-octane direction. Aside from odd moments of reflection – as well as a chaptered structure to break things down – the film is on a constant high as Evelyn barrels through multiple realities without really giving you any room to breathe. The execution of such a frantic pace is reminiscent of Safdie’s Uncut Gems (although not quite as anxiety inducing), a tone only achieved by director’s with distinct vision as well as fantastic editing working hard to make it cohesive. 

    Often when films have a scope so vast that they can literally be defined as everything, it’s incredibly important to have a ‘something’, or someone, that brings it delicately back to Earth. It’s something that the modern Superhero film has struggled with as they grow and grow in scale but for Evelyn, her fractured relationships are in the forefront – a loveless marriage and a disconnected daughter are really what Everything Everywhere All At Once is about, making the humanity tear through the madness wonderfully.

    Eventually, as the movie sifts through the fears of existentialism, it begins to find its core between Mother and Daughter. Evelyn is tasked with stopping a powerful multiverse hopper named Jobu Tupaki who takes the form of Evelyn’s daughter Joy (Stephanie Hsu). In these wacky moments of glitter violence and googly eyes, the film finds connection not just between Mother and Daughter, but between two people so disconnected from their lives and each other that they end up finding solace in the shared experience.

    This film is truly unique, an explosive journey that is able to create so much joy and laughter even as you stare into the deep dark abyss of life’s emptiness (or cream cheese bagel). The concept draws you in, but what keeps you hooked is the film’s wonderful emotional core at the centre of all the chaos. 

    Rating: 5 out of 5.
  • The Batman (2022) – Reel Review

    The Batman (2022) – Reel Review

    Director: Matt Reeves | 2h 56mins | Action, Crime, Drama

    When Batman finds himself hunting down the serial killer known as The Riddler, he must go into the political underbelly of Gotham City corruption to unveil the truth and catch him.

    Batman as a character has taken many shapes and forms over the years, all the way from Adam West’s iconic turn in the 60’s to the gritty interpretation beloved by many that Nolan created in 2005. Matt Reeves’ The Batman is more akin to Nolan’s gritty and grounded style to the caped crusader’s story, channelling aspects of Frank Miller’s comic-books and using it’s Noir style to finally give us a cinematic story honouring Batman’s name as The World’s Greatest Detective. 

    The most notable change in Matt Reeves’ film is in it’s interpretation of Bruce Wayne himself, who still maintains the physical intimidation when donning the mask but doesn’t harbour any of the flashy spontaneity of a lonely billionaire playboy, but more finds himself brooding alone in his batcave, unable to connect to the people of Gotham. It’s an interesting change that has genuine relevance to the plot, as Bruce realises that while investigating he is able to open just as many doors as Bruce Wayne as he can as Batman. Sometimes Pattinson’s performance feels more angsty than it does grief-stricken and disconnected, but for the most part it feels like a fresh take. 

    As a performer Pattinson is intriguing, he’s made riskier career moves in order to move away from his franchise role in Twilight but now back in the blockbuster limelight he doesn’t seem to have lost a step. There is always trepidation when casting such a huge character in popular culture, but fans can rest assured that Pattinson is not only doing the character justice, but giving it a fresh coat of awkwardness and discomfort, something that doesn’t always translate into inner turmoil like the film wants it to but does create a new approach – something that helps to justify why a new Batman was needed in the first place. 

    Being able to create tone and mood is incredibly important, but being able to capture your character’s feelings is something that The Batman goes that extra mile to achieve. 

    In The Batman’s somewhat bloated 3-hour runtime Batman crosses paths with a number of iconic villains (Colin Farrell gives a particularly great turn in heavy prosthetics as The Penguin), but it’s Paul Dano’s sadistic Riddler that is at the heart of the mystery. Dano excels in the weird and unhinged and his turn here is in keeping with the Zodiac-esque thriller that Reeves has created. Reeves has obviously kept a keen eye on the very best Neo-Noir films as inspiration, with its perpetual rainfall and seedy conspiracy feeling eerily similar to Fincher’s work, the film succeeds in tone and mood far more than any of the Snyder films in recent years. 

    Tone and mood are not the only place the film succeeds though, its cinematography wonderfully captures a city in turmoil but its ability to capture loneliness and disjointedness in its characters is something that is incredibly important for the film’s unique tone. Not just in Bruce Wayne, but especially in Zoe Kravitz’s turn as Catwoman (a scene stealing performance throughout), someone who’s own loneliness connects her with Batman. Being able to create tone and mood is incredibly important, but being able to capture your character’s feelings is something that The Batman goes that extra mile to achieve. 

    Matt Reeves’ newest incarnation doesn’t fully loosen the grip of Snyder’s glossy approach, nor does it stray far enough away from Nolan’s iconic trilogy, but there is a genuine attempt to create something new from a character we’ve seen so much of. The grim Neo-Noir style is matched by wonderful cinematography, and the cast give solid performances that balance the campy and grounded aspects – this is a Batman we’d happily welcome back to our screens. 

    Rating: 4 out of 5.

  • Turning Red (2022) – Reel Review

    Turning Red (2022) – Reel Review

    Director: Domee Shi | 1h 40mins | Animation, Comedy, Family

    Overachieving 13-year-old Mei Lee (Rosalie Chiang) has her life turned upside down when she begins turning into a giant red panda every time she gets excited. 

    Over the years, Pixar has evolved their themes and taken a much more contemporary approach. They’ve matured, understanding that the stories they tell are able to teach valuable lessons of adolescence while also asking bigger questions of the world. Turning Red, directed by Domee Shi who directed Pixar short Bao (2018), is another wonderful example of representation by the studio – finding individuality and importance in a story about pubescence and parental pressure. 

    Set in Toronto in the early 2000’s, the film is based loosely on the director’s experience growing up in an Asian-American household. This already gives the film a personal edge, something that is very often missing from Pixar films, allowing an individual experience to shine through while never losing the “film for all ages” mantra Pixar have worked so hard to cultivate. Its uniqueness stems from the fantastical allegory the film is telling, using ancient curses and ceremonial rituals as a metaphor for female change. 

    You’d be lucky not to be smashed over the head with the film’s metaphor but like many Pixar films, Turning Red fully understands who it’s trying to reach with its message. When introduced to main character Mei Lee’s red panda, her parents quickly dash in panic at the thought of their daughter experiencing her period. It’s turned into a refreshingly light joke which eventually turns into the film’s biggest plus, being able to channel the teenage experience through light and playful storytelling. 

    The film finds solace in a shared experience, giving itself an element of sisterhood between the women of Mei Lee’s family.

    As Mei Lee discovers that her entire ancestry has suffered from the same issue, her family plan to purge her of this power in order to stop her losing control. But, as Mei Lee becomes more confident, more exciting to her friends and much more interested in boys thanks to the fictional boy band ‘4 Town’, the film quickly becomes more about Mei Lee’s ability to accept her changes as a person. After all, being a teenager is much more than the physical changes we face, but about the emotional maturity we develop as we discover who we are. It’s clear Domee Shi balances fantasy with reality wonderfully, which is why the message is so universal.

    Domee Shi’s Oscar-winning short film Bao was a wonderful take on motherhood, and how difficult it is to see the child you’ve moulded and raised change and grow up. Turning Red takes that idea and flips it to the child’s perspective, as Mei Lee’s Mother (voiced by Sandra Oh) takes an obsessive route to stop her daughter from ‘giving in’ to the red panda inside her. As we discover more about her Mother’s upbringing and the panda inside of her, the film finds solace in a shared experience, giving itself an element of sisterhood between the women of Mei Lee’s family.

    Turning Red oozes noughties nostalgia, draws from animation outside of the modern computer animation Pixar pioneered and tells a wonderful story of adolescence. It’s individuality in the Pixar catalogue will not go unnoticed and while some of the final act doesn’t quite hit it’s emotional punch in the same fashion as Soul (2020) or Coco (2017), it’s balance of universality and individuality makes the film as warm and fuzzy as it’s furry main character. 

    Rating: 4 out of 5.