Monthly Archives: May 2022

1930's, Drama, Movie Reviews, Movies, Romance

REVIEW: “DOWNTON ABBEY: A NEW ERA (2022) Focus Features

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“Why would anyone want the actors to talk I would have thought silence would be a blessing.” Dowager Countess of Grantham

There is one thing you can always count on when visiting Downton Abbey – it’s a busy place. People hustling and bustling around, from the Crawley family themselves, to all the downstairs employees who are a family unto their own.

But as all things do – time goes on and things change. Hence we find ourselves with “DOWNTON ABBEY: A NEW ERA” and boy what an era this turns out to be for all at Downtown. So much is changing in the world and this new Downtown Era transfers beautifully to the film screen, mostly because it has a new vision and a new director in Michael Engler. The original cast whom we’ve all come to know and love is mostly back with Dowager Countess (Maggie Smith), as always leading the way and as is tradition, she gets most of the best lines. The Granthams’ Robert (Hugh Bonneville), and Cora (Elizabeth McGovern), as well as daughters Lady Mary (Michelle Dockery), and sister Lady Edith (Laura Carmichael), are back as well with their families, though notably missing is Henry Talbot whose is away racing cars. This doesn’t bode well with Mary as she feels this takes precedence in his life and this might lead to a ‘wandering eye’ here or there. Though front and center is Tom (Allan Leech), who opens the film with his marriage being celebrated by all to Lucy (Tuppence Middleton).

The family and titles might be a bit hard to keep up with, but fans of the series have no problems remembering them all, For new fans, this film really has done a superb job in opening up the plot and the setting in this film in a truly new era.

The are two revolving plot lines in a New Era, one brings us the future, but the other brings us to the past. More specifically, the Dowager Countess’ past. But as half the household vacates Downton leaving Lady Mary behind to manage things at home. The rest of the family including Mr. Carson (Jim Carter), vacate to a beautiful seaside villa in the South of France that Lady Violet Crawley, the Dowager Countess of Grantham has mysteriously inherited from a Count that she met many many years ago. The Villa and the scenery surrounding the mystery is of course beautiful, but it also opens up the story to some very emotional family disclosures, and I will leave it there as the Countess herself notes: “I will say goodnight… and leave you to discuss my mysterious past.” And to tell you more would spoil it all.

On our other story set within the film, we watch as Downton Abbey moves to 1929 and with it, brings in not just the jazz age, but the movies itself within its doors. Movie lovers will remember that 1929, also heralded the end of the Silent movie era and talkies were taking over and the movie industry itself was being revolutionized with this. They manage to fit a lot in here with this theme as Jack Barber (Hugh Dancy), comes to town as a director wanting to make a movie using Downton as his location, also something that is changing – shooting from the backlots of studios to actual location shoots. Since Downton has fallen into some disrepair, the large location fee is most welcome – as is some of the movies cast, bringing in two famous silent films stars Guy Dexter (Dominic West) and Myrna Dalgleish (Laura Haddock), much to the enthrallment of Daisy (Sophie McShera) and Anna (Joanna Froggat).

The music score in this movie by John Lunn with the Downton theme that is so familiar to it’s audience, is effective in this movie and perfectly suits the family dynamics emotional side. As well, the wonderful soundtrack additions of the Jazz Age and songs of the era to round it all out. This film manages to have strong female characters and not only that but it’s also the perfect example on how to include gay characters without it feeling forced. Add in a certain amount of hi-jinx all around, and you’ve got yourself the follow-up movie we all needed.

The two stories are quite beautifully woven together and with so much of the original cast present, along with some wonderful new additions- this one works well in updating the story if this family we never seem to tire of.

Grade: B

Follow me on twitter: @pegsatthemovies or Instagram: Peggyatthemovies

Review Screening: Friday, May 13, 2022 ~ Courtesy of Ginsberg/Libby PR

“DOWNTON ABBEY: A NEW ERA” FROM FOCUS FEATURES IS NOW IN THEATERS

Drama, Fantasy, Horror, Independent Feature, Movie Reviews, Movies

REVIEW: “THE INNOCENTS” (2022) IFC MIDNIGHT

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There are films that sometimes just reach out and grab you in the most unexpected manor. “THE INNOCENTS” from Norwegian director Eskil Vogt is just that film. It is wildly creepy, slick horror with a fantasy and drama element thrown in. And it’s a film you will not soon forget. It’s based around four children – two sisters, along with a boy and a girl from the local neighborhood they move to.

The film begins with the two young girls moving into a new apartment complex with their parents during Summer break. As children do, they look for others to befriend and play with and soon the two girls meet other kids in the complex, when something strange starts to happen.
As these young children come together they come to realize they are ‘connected’ in a way that is both evil personified and good personified.

THE INNOCENTS –

Ida (Rakel Lenora Fløttum), is an adorable little girl and is the younger of the two sisters. Anna (Alva Brynsmo Ramstad), Ida’s older sister is autistic and mostly non-verbal. At first, Ida seems like a troublemaker, as we see her pinch her sister, as if checking to see if she is for real as Anna doesn’t cry out or seem to notice the pain from it. For Ida, her sister represents competition for time with her parents, as their focus and energy is mostly spent dealing with Anna’s condition, Ida becomes sadly, sort of an afterthought as she doesn’t require the time and effort Anna does. But here in lies the delicacy of the wonderful acting by Fløttum as she is sublime at showing her character’s growth throughout the film. Then there is Ben (Sam Ashraf), a young boy from the complex and the first friend Ida meets. Ben is a myriad of complexities, with a mean streak driving his taste for violence and inflicting pain on others. Ashraf is absolutely haunting in this role. And lastly we have young Aisha (Mina Yasmin Bremseth Asheim), the compass if you will, of the group of four and the youngest. She is also somehow the only person who can communicate with Anna at first. Together as a group, these children can be just that, children, or something much much more, and therein lies the chilling effects of this film. The four children play off of each other so phenomenally, which is pivotal, considering they are our main focus throughout the film.

As well, the film is beautifully shot, edited with good sound design, which helps the movie to reach and hold the viewers attention – and then some. The movie is relentless and does not hold back, as certain scenes may be too graphic – but also quite a punch in the gut for some viewers. What the most chilling aspect to watch is the children because as they become aware of their power and it grows, so does the tension within. The Innocents addresses some serious adult themes that we are aware are too grown-up for the small group of children thrown together to deal with, all unaware of the others markings, but it makes the film all the more suspenseful and disturbing.

THE INNOCENTS

Vogt mastery of combining drama, fantasy, and horror in a compelling way is completely on point here. The story being told isn’t one where kids are committing violence for no reason, it’s more in depth than that. It’s more about the fantasy world kids often live in and their lack of understanding when it comes to the very real consequences of their actions, should they ever be given powers beyond their years. As well, there is no big reveal ever on how the children obtained the powers, and honestly, the question never arose in my mind on that as it’s really not the purpose of the story. The purpose is what happens once they do have those abilities and how they act on them – more the good vs. evil tone and the fact that these children as actors, pull it all off while making their debut’s – is truly a piece of excellence in itself.

Grade: B+

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Review Screening: Courtesy of IFC MIDNIGHT

“THE INNOCENTS” IS NOW IN THEATERS NATIONWIDE AND VOD.

1960's, Drama, Female Director, Independent Feature, Movie Reviews, Movies

REVIEW: “HAPPENING” (2022) IFC FILMS

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The past dictates our future in so many ways. So being somewhat traumatized by a film isn’t always a bad thing when that film is so important to whom you are as a person. And nothing could be more prevalent at this moment than Director Audrey Diwan’s film “HAPPENING” based on the semi-autobiographical novel from French novelist Annie Ernaux (originally entitled “L’Événement“). It’s speaks up from the past, not just telling us – but showing us all as well – the true brutality and horrors of what exists when women across the world lose their freedom of choice over their own body.

HAPPENING

The film takes us back in time to France in 1963, Abortion is illegal. Birth control is illegal. Told from the point of view of the main character Anne Duchesne (Anamaria Vartolomei), in close up and close quarters, we embark on this vivid, often hard to watch, journey with her.

Anne, Hélène (Luàna Bajrami), and Brigitte (Louise Orry-Diquéro), are college dorm-mates studying literature, and they are all getting ready to go to a dance. When they arrive, the room is full with men and women dancing though because of the times they are in, there is an undercurrent of having too much fun means you are loose or easy. In the weeks after the dance, we see Anne continually check if she has gotten her period and write “rien” meaning nothing, repeatedly in her diary. When her pregnancy is confirmed by the local doctor, she asks him to do something, but he declines and urges her not to speak about it. Later, as things are progressing and Anne is clearly slipping, she visits another doctor, who is supposedly sympathetic to her condition and prescribes a drug that will guarantee a miscarriage. She learns, however, much later, that the doctor lied to her and the drug is designed to actually strengthen the not yet formed fetus inside her.

HAPPENING

Anne’s friends through all of this present an array of reactions with Bridgette, the supposed more sexually liberated one, keeping her distance and instead it’s the usually quiet and shy Hélène who seems to be the more accepting and understanding of the two. Most surprisingly is Olivia (Louise Chevillotte), once Anne’s nemesis, steps up to the plate and proves to be vital ally when everything starts to spin out of control. The two become unexpectedly connected during a pivotal – and unforgettable scene that had me gripping my seat and squirming wanting to cover my eyes – but you can’t – because while traumatic, it is all to very real. 

While “Happening” depicts the very real story of a young girl who’s forced to make a very tough decision in a time where you didn’t have the freedom to choose, it’s director Audrey Diwan, whose choices here are so effective in making us live every single moment with Anne. She does a great job of depicting the social stigma and incredible secrecy Anne is forced to suffer through, just because she doesn’t want to let a baby dictate her life. You feel not just sad for her situation, but angry for what she is put through, and most of all, you root for her to find a way out before it’s too late, hopefully without any serious repercussions. The disillusionment she receives from her doctor and friends is upsetting to watch, not to mention she can’t even tell her family for fear of the shame it will bring.

The more weeks that pass by, the more stressed Anne gets and we the audience get as there is a sense of urgency throughout due to the spectacular performance of Anamaria Vartolomei. She conveys every single moment for you in such realism that there is almost a sense of relief when she finally gets to the back-alley abortion clinic after raising the money by selling her personal items – even though you clench your teeth, and squirm every which way in your seat, watching the painful procedure take place.

‘Happening‘ is a wake up call to us all as the film doesn’t lecture it’s non-believers. It simply, and effectively discredits them. What changed is that thousands of desperate women no longer died as the result of botched backstreet abortions and simply put – we can never go back there again.

Grade: B+

Follow me on twitter: @pegsatthemovies or Instagram: Peggyatthemovies

Review Screening Friday, April 22, 2022 ~ Courtesy of Accolade PR

“HAPPENING” IS NOW IN THEATERS NATIONWIDE AND COMING TO VOD JUNE 21, 2022.

Comedy, Drama, Female Director, Foreign Film, Independent Feature, Movie Reviews, Movies, Romance

REVIEW: “Anaïs in Love” (2022) Magnolia Pictures

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From the very moment we first see her on screen, it’s clear that Anaïs (Anaïs Demoustier), doesn’t have her life together. It’s also clear that that is exactly how director Charlene Bourgeois-Tacquet wants her lead character to be. Anaïs is a whirlwind on the screen, as it is the films running joke throughout that Anaïs is a frenetic girl who is habitually late to everything. She is late to appointments, late to school, late to parties, late to family functions, yet she is never out of breath while being late riding her bike to all these events. To continually make it clear, she is late with the rent on her Paris apartment, late with her University dissertation, and yes, late with her period. She is also late in telling her live-in boyfriend Raoul (Christophe Montenez), that because she is late taking her birth control as she ‘just forgot’ that she is pregnant. But somehow everyone from her landlord to her professor, all look past her seemingly carefree approach to real life as she talks her way out of all of it because, you guessed it, she is late and running off to the next thing that she is late for.

This is all cute and whimsical enough until, suffice to say the one thing she on time for is when she has her abortion. The problem here is how nonchalantly this is all noted as if having the abortion is just another blip in her day. This is supposed to be comedy and there was nothing funny about the way this is handled in the story. Abortion, as we all know, is a serious right, a right for a woman to make a choice. It is not however to be shown so dispassionately and be treated as though it’s just another form of birth control. That something so critical and important of an issue and decision is taken here, by a female director of all people, should’ve been handled with more aplomb instead of being made to look easy to do and be played off as if she is cool as a cucumber doing it. The film lost its comical ‘pretense’ then and there.

So it’s really no surprise then to see as the film goes on that Anaïs takes an older, married man Daniel (Denys Podalydes), whom she met as she was late to a dinner party, as her lover, He then turns it around and ends the affair by stating he doesn’t want his life to change. Anaïs as per usual, just shrugs it off and turns her attention to Daniel’s wife, Emilie (Valeria Bruni Tedeschi). Emilie is a famous author and Anaïs worms her way into Emilie’s life after reading her book, tracks her to Normandy, where she’s holding a symposium, even though she was hired and supposed to be helping at a completely different symposium in another town. Once again, she just abandons something dependable for something whimsical. In the midst of all this and without warning, the women begin a sexual relationship. It comes as a complete surprise as neither character had up until that point in the film, even the slightest bit any previous indications that this was even something that either of them was interested in. All the while this is going on, Anaïs is coming to terms with the return of her mother’s (Anne Canovas), liver cancer. While this isn’t an excuse for her bad behavior, it seems to be given as some sort of explanation for it all.

There is a lot lacking here in terms of it being a comedy at all and it lacks any sort of dramatic punch even with the side-story of her mothers cancer. Anaïs the character, is never concerned about what the outcome of her actions are, so neither are we. Anaïs Demoustier the actress, is beautiful and does well with what the character is supposed to be, it’s just not enough to make the film any better. This is essentially a movie about an thoughtless young woman, whose mother is dying of cancer, and who makes the lives of those around her unpleasant. And that just isn’t funny no matter which way you twist it.

Grade: D+

Follow me on twitter: @pegsatthemovies or Instagram: Peggyatthemovies

Review Screening: Courtesy of Ginsberg/Libby PR

“ANAIS IN LOVE” IS NOW IN THEATERS April 29, 2022 and VOD May 6, 2022.

Drama, Female Director, Independent Feature, Movie Reviews, Movies

REVIEW: “INBETWEEN GIRL” (2022) Utopia

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There are times when watching films that you find a hidden gem amongst all the seemingly endless list of choices to watch. Director Mei Makino’s 2021 SXSW ‘Visions’ Award winner, “INBETWEEN GIRL” is just that gem.

The film is framed in a personal and unflinching manner than what one might expect. It is charming, raw, funny, and truly tackles teen-age romance and sexuality pretty head-on, but in a way that is realistic and mature. It’s all about Angie Chen (Emma Galbraith), a young, pretty Chinese-American girl attending an Episcopalian private school in Galveston, Texas with a flair for drawing. While she is friends with Liam (William Magnuson), the stereotypical school jock who all the girls adore, eyebrows and all, that’s seemingly all there is to it. He gives her rides home each day from soccer practice and they begin to get to know each other, with their friendship beginning to border on something more. Truthfully she could easily fall for him if not for his girlfriend, Sheryl (Emily Garrett), a model/social media influencer who ends up being her partner in a class project, becoming her friend as well, making things all the more complicated. You get a sense of where it’s headed but even still, Makino somehow makes it all feel fresh and full of energy and heart, as well as a learning experience of life.

The dramatic heart and center of the film, also come from her troubles at home as her newly divorced parents make things all the more confusing in Angie’s life. She is living with her mother Veronica (Liz Waters), a lawyer whom is always working, leaving Angie to fend for herself for things like meals, homework, and most notable, her social life. As well, she is feeling distanced from her father Fai (KaiChow Lau), whom she cherishes but seemingly has instantly found a new, better family already with Min (ShanShan Jin), and her daughter Fang (Thanh Phuong Bui). Both of whom speak her father’s native Mandarin dialect and with whom she feels replaced by.

Between the difficulties with her love life and her home life, Angie struggles to come of age as simply as one would expect. While there is a good deal of levity to break up the dramatic plots, there is a natural charm and heartfelt good nature about the film that overcomes any small shortcomings it might have. It’s a winning little film that is beautifully told and acted as Emma Galbraith is a breath of fresh air to this role, that is rarely ever played by someone of mixed race, but she proves there should be more. Even our manipulating cad of a male lead – William Magnuson, puts a star next to his performance here.

This film so deserves to find an audience that will fall in love with this tale we’ve heard before, but truly told in it’s own angsty manner of everything facing a teenage girl. The mistakes, family, drama, happiness, and friendships that shape us into who we are. The film as well, explores the relationships between having a Chinese father/American mother – and how difficult your heritage can be to navigate when that family unit splits. This is one film that no one should miss!

Grade: B+

Follow me on twitter: @pegsatthemovies or Instagram: Peggyatthemovies

Review screener: Courtesy of Caitlyn Hughes PR

You can stream Mei Makino’s “Inbetween Girl” on major VOD services beginning on May 3.