Category Archives: Movies

Action, Comedy, Dark Comedy, Family, Female Director, Independent Feature, Movie Reviews, Movies

REVIEW: “POLITE SOCIETY” (2023) FOCUS FEATURES

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“POLITE SOCIETY” is writer-director Nida Manzoor‘s first film – as we best know her from her hit TV show “We Are Lady Parts” – a personal favourite of mine from Peacock. She stays within the Pakistani community culture that she knows and does so well with again here, giving us a very smart, yet super stylised, inventive and sometimes over the top familial story. Manzoor divides the film into five chapters – entitling each with the theme at hand such as “Khan vs. Salim” or “Khan vs. Khan”, highlighting what each chapter will offer up.

4167_D039_00291_R Priya Kansara stars as Ria Khan and Ritu Arya as her sister Lena in director Nida Manzoor’s POLITE SOCIETY, a Focus Features release. Credit: Parisa Taghizadeh / © 2023 FOCUS FEATURES LLC.

Priya Kansara, a newcomer to the big screen, stars as Ria Khan, a Sophomore/Year 11 private school student, Ria is highly determined to achieve her goal of becoming a working stuntwoman. She remains laser-focused on this despite her teacher and parents parents Rafe (Jeff Mirza) and Fatima (Shobu Kapoor), laughing it all off as nonsense and trying at every turn to re-direct her towards becoming a doctor. Ria also adores her older sister Lena (Rita Arya), who has recently moved back into her parents home after dropping out of a prestigious art school. Ria is worried about her as she seems to be drifting in life. So instead, together they film Ria’s stuntwoman ‘practices’ all the while she sends letters to top professional stuntwoman Eunice Huthart expresses her love for all things stunt related, and yet at some point, her life intertwines in them as well.

Things change quickly for everyone as at a meet & greet aka match-making soiree’ as Salim (Akshay Khanna), a doctor and every mothers dream match for their daughters, steps in and begins wooing and winning over Lena. Ria senses things aren’t right with the relationship and is also convinced that Lena should resume her dreams of being artist, rather than be with the too-good-to-be-true Salim. And then there is Salim’s mother Raheela (Nimra Bucha), who raises every red-flag visable as the overbearing mama’s boy mother. Of course, Ria suspects things aren’t all on the up and up here and sets out to prove it with her two best school friends Clara (Seraphina Beh) and Alba (Ella Bruccoleri), who get some of the best one-liners of the film. And the fun begins as they strategize and scheme to undercut the relationship, but they are no match for Salim’s mother.

4167_D018_00093_R Seraphina Beh stars as Clara, Priya Kansara as Ria Khan and Ella Bruccoleri as Alba in director Nida Manzoor’s POLITE SOCIETY, a Focus Features release. Credit: Parisa Taghizadeh / © 2023 FOCUS FEATURES LLC.

While the story might have it’s over-the-top moments to be sure, the acting never does. Kansara and Arya are perfectly paired here and clearly are having fun as they execute the physical martial arts sequences beautifully, yet also show promise in the more serious moments switching back and forth flawlessly. And the supporting cast which we have yet to mention the school bully turned partner in crime Kovacs (Shona Babyemi), who offers some wonderful comedic relief helping the three friends out in their wily scheme to ‘free’ Lena. All these ladies need to be put on everyone’s “Actresses to watch for” lists – as well as filmmaker Nida Manzoor on their Female Directors to watch list. Anyone who can entertain at this level deserves the opportunity to do so as frequently as possible.

In the end, after all the kicks, punches, and schemes, ‘Polite Society’ is about culture, friends, sisterhood and being true to who you are with Nida Manzoor giving us extremely creative film with a balance of themes that proves immensely entertaining.

Grade: B

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Review Screening: Courtesy of Ginsberg/Libby PR

“POLITE SOCIETY” FROM FOCUS FEATURES IS OUT IN THEATERS FRIDAY, APRIL 28, 2023

Biography, Drama, History, Independent Feature, Movie Reviews, Movies

REVIEW: “CHEVALIER” (2023) SEARCHLIGHT PICTURES

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The life of Joseph Bologne, Chevalier de Saint-Georges is definitely one that needs to be told. He was an accomplished man, a scholar, fencer, a virtuoso at the violin, besting even the likes of one Wolfgang Amadeus Mozart, or so the story goes. Most of all, he was a composer and a much sought after one at that. All this took place from 1745-1799 to be exact, during Marie Antoinette’s reign. But because of who he was, his storied life was all but erased from history as we know it thanks to one little guy named Napolean Bonaparte’ when he reinstated slavery in France.

And this is where “CHEVALIER” the film steps into play boasting a based on a true story – screenplay by Stefani Robinson that doesn’t escape the predictability of the usual bio-pic story structure, as well as the possible taking of a few liberties here and there. Director Stephen Williams does turn this into a surprisingly captivating look at the life story of the composer who grew up the illegitimate son of an African slave and a French plantation owner, Joseph Bologne (Kelvin Harrison Jr.). Bologne rises to improbable heights in French society hence him being crowned with the title of Chevalier, taking his suffix from his father, “de Saint-Georges”—named after a plantation in Guadeloupe—to become known as ‘Chevalier de Saint-Georges’. The film chronicles his talent, his supposed ill-fated love affair with Marie Josephine (Samara Weaving), and his falling out with Marie Antoinette (Lucy Boynton) and her court. Chevalier bucked the norm and competed to try to get appointed as the head of the Paris Opera at one point, but the Opera’s prima donnas, notably La Guimard (Minnie Driver), the Operatic Vocalist Queen of the time, went to Queen Marie Antoinette and halted his potential candidacy because they didn’t want to take orders from a ‘mulatto’ or Creole as he could be called. In the film, they show it as he would not bed the elder Guimard, again, possibly a small liberte’ taken here.

What is incredibly beautiful here is the music and the costumes. Both coming at you with such a vibrance with Harrison performing spectacularly on the violin in a fun opening moment. There is bound to be nominations for both of these, and Kelvin Harrison Jr., having been my one to watch a few years back, he has not failed me yet and delivers a ‘bonne performance’ here as well. Chevalier can feel drawn out at times and even predictable, and overall the pacing of the film is definitely a little strange occasionally, but the actors take it and make it the compelling story that it is.

Even with it’s ups and downs, It’s a sensitive topic, yet also tremendously inspiring narrative set to incredible classical music that allows it to have a powerful conclusion.

Grade: C+

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Review Screening: Courtesy of Searchlight Pictures

“CHEVALIER” FROM SEARCHLIGHT PICTURES IS OUT IN THEATERS FRIDAY, APRIL 21, 2023

1950's, 1960's, 1970's, 1980's, 1990's, Documentary, Movie Reviews, Movies, Music

REVIEW: “LITTLE RICHARD: I AM EVERYTHING” (2023) CNN FILMS

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A wop bop a loo bop a lop bam boom

Richard Penniman aka Little Richard was many things throughout his life. One of those things is he is undisputably the real King of Rock n Roll with this documentary not just celebrating his work, but also recognizing him for being, as Richard himself says, “The one that started it all.” Directed by: Lisa Cortes “Little Richard: I Am Everything” puts much of it’s emphasis on the music first and formost. That galatic talent on the piano and some of the biggest names who followed in Richard’s wake, how others disregarded his talent, and his complicated legacy regarding race and queerness. I must say, while it’s not long in length, this documentary cuts to the nitty gritty of it all, and you learn from it.

The movie is a remarkable journey, that captures the spirit of Richard himself. We see everyone from Billy Porter, Mick Jagger, Paul McCartney, and Tom Jones, the latter three all one time members of Richard’s inner circle, and director John Waters whose insight into Richards life impacted his own with the copying of the infamous tiny mustache. The list of who he influenced is longer than that – as there would be no Elvis, David Bowie, who cameos here as well, Prince or even Harry Styles, without the influence of Little Richard. The film traverses the lines between Richard’s life as well as clearly his confusion between who he was, his religion and who he wanted to be, are all put forth to decipher.

Born December 5, 1932 in Macon, Georgia as Richard Penniman in a family that included twelve children in total and he grew up surrounded by blues music. Macon was also a religious town, and it was in a church where Richard first began singing. But along with that strict religion to conform to, his even stricter father who threw him out of his home at an early age. Richard was then taken in by the owners of a queer-leaning nightclub. An all-too-familiar situation that – as we later find out – likely impacted Richard. Soon though, he performed across the country (sometimes in drag shows) and later formed a band to record a demo tape of songs including ‘Tutti Frutti.’ From there, as his popularity began to soar, going into ‘forbidden’ terrority so to speak, so did the judgement. leading to ridiculous things like that same song being re-recorded by America’s religious darling at the time, one Pat Boone.

Ironically, it was a supposed sign from that very same religion that espoused him that led him to renounce himself more or less. He ended up at a conservative college, became a gospel artist, and even burned some of his old records. Then realizing gospel preaching didn’t pay, he flips the lid once again and gives that up for tours of Britain and a big, colourful comeback in the 1960s. And then, you guessed it, another reform again in the 1970s, turning his back fully on own homosexuality once again. All these back and forth renouncements and constant fluctuation represent Richard’s lifelong struggle to balance his love of Christianity, yet also speak strongly of his other maybe more real true love of rock-n-roll. One might ask why so many turnabouts – yet this answer is never revealed. most likely because Richard himself really never knew the answer himself sadly.

What the film does reveal is how Richard created an art form for ultimate self-expression, yet what he gave to the world he was never able to give to himself. Throughout his life, Richard careened like a shiny cracked falling star somewhere inbetween God, sex and rock n’ roll. The world tried to put him in a box, but Richard was another type of being altogether – and while he never received much of the deserved accolades or money until the end – he was unabashedly everything. All at once.

Grade: B+

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Review Screening: Courtesy of Ginsberg/Libby PR

“LITTLE RICHARD: I AM EVERYTHING” FROM CNN FILMS IS OUT IN THEATERS AND VOD FRIDAY, APRIL 21, 2023

1980's, Drama, Movie Reviews, Movies, Sports

REVIEW “Air” (2023) AMAZON STUDIOS

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I’m not sure how Ben Affleck does it – he takes these stories which are based on real life scenarios like “Argo”, and now here again with “AIR”, and makes them magical. Even though we know the end line, somehow once again, he was able to put his finger on just the right pulse in how to tell this story with excitement and great character work, to keep us thoroughly engaged and immersed in the story for every single minute of the film. Or maybe he just has good luck with films that start with the letter “A”. Which ever it is I hope he never stops as ‘Air’ brings on another one of these fantastic real life stories with this one taking on Michael Jordan’s ‘Air Jordan’ journey.

Air – is first and foremost, a sports drama that brings us back to the 1980’s and recounts the events that saw Nike, then just a scrappy upstart in the major sneakers – sports shoe market, make a huge historical stride in the world of what we now know as one of the most lucrative markets on the planet, the basketball shoe market. It was a huge gamble at the time, and one that would see them put everything on the line, to gain on rivals Converse and Adidas. And thanks to a risky, all-or-nothing pursuit of up-and-coming college basketball – going NBA star Michael Jordan (Damian Delano Young), history is made. But it’s all in the story-telling, and boy, is there some great interwoven story-telling happening here.

Matt Damon is front and centre as Sonny Vaccaro, an Nike representative in the much-lacking basketball division at Nike with a brilliant eye for new talent, who decides to take matters into his own hands and approach the Jordan family directly at their home. But he will have to woo Jordan’s mother Deloris (Viola Davis), who plays this role with a calmness and authority that denotes how in the South, the mother is the matriarch and her son’s biggest decision in life, will probably be very influenced by her. Rumour has it that this was Michael Jordan’s only special request for that film, that Queen Viola Davis play his mother.

And although the outcome is already known, that doesn’t stop “Air” from being an intriguing story and ultimately, an uplifting experience from beginning to end. There is something that Affleck, as a director, has his finger on with these kind of stories, and that is the element of a suspense like, edge of your seat feeling, that while you know the outcome, it’s yet still instilled in the film and hence entices the audience throughout.
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And yes, you can say the film is sure to just be a crowd-pleaser as it’s about one of the greatest basketball players of all time and it’s a given, but that’s not always the case. As someone who has never probably watched an entire NBA game from start to finish, the film possesses great energy with punchy, charismatic dialogue, and that dynamic direction from Affleck pays off. but what wraps this one up with a bow and makes it stand out here as well, are the performances. The ensemble cast do an ample job of making us care about Nike’s plight and their unorthodox plan to sign basketball’s future star – and of course, there’s plenty of humour throughout, and much of it is thanks to the larger-than-life performances. So let’s delve in and talk a bit about said performances.

With Matt Damon pulling our lead role here, he is doing what he does best, playing a hero that is not flawless, more realistic, and constantly knows he is a human being. Sure we have seen this kind of work from Damon before, but it’s been a while since he’s been this good, looking so relaxed as he probably pulls out one of the best performances of his career, and definitely the best in some years. Ben Affleck’s does a bit of double duty giving himself a plumb supporting role as Phil Knight, Nike’s creator and CEO. He is funny, sarcastic and realistic stealing a few scenes. One thing can be said here as well, Affleck completely knows how to cast himself. Throwing in Jason Bateman‘s comedic touch as Rob Strasser, is superb. No one plays the ordinary company man better and this maybe the best example how to use Jason Bateman in a movie. Chris Tucker may not have a big role in this movie, but every scene he is in, you’ll feel his magic. It’s like he was given a creative zone where he could do some “Chris Tucker” stuff without ruining the reality of the movie. Chris Messina as Jordan’s sport agent David Falk gives big “Arliss” vibes and perfectly so, as it’s a perfect portrayl of exactly what a sports agent does. His rants are profound and so full of humour. And lastly, you would be remiss not to mention Matthew Maher as Nike shoe designer extraordinaire Peter Moore, who gives the understated performance of his career – while having a almost perfect scene where he ‘names’ the Air Jordan.
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To sum it up, “Air” is a sports movie without being a “sports” movie. it’s an emotional journey about chances of life & belief in greatness. With a bangin’ soundtrack that embodies the movie almost as a character, make this the feel good film of the year. Ben Affleck, you’ve done it again.

Grade: A

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Review Screening: Thursday, March 30, 2023 ~ Courtesy of Ginsberg/Libby PR

“AIR” FROM AMAZON STUDIOS IS OUT IN THEATER WEDNESDAY, APRIL 5, 2023

Action, Crime, Crime Thriller, Movie Reviews, Movies, Thriller

REVIEW: “JOHN WICK: CHAPTER FOUR (2023) LIONSGATE

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“Have you given any thought to where this will end?”

—–A reasonable question repeatedly posed to Keanu Reeves’ seemingly immortal hitman in this fourth entry.

222 steps. That’s what it will take for John Wick to make it up to decide his fate. There are of course obstacles, so many obstacles.

John Wick (Keanu Reeves), fresh off being shot off a roof by supposed friend Wilson (Ian McShane), at the conclusion of ‘Parabellum’, is on a vendetta to destroy the ‘High Table’, while Bill Skarsgårds‘ Marquis character as he tells us, is a man of exquisite tastes, sets out to take Wick down. And as the ransom rises commensurate with Wick’s kill count, the hunt is on again with the only surprising element being that the ‘High Table’ still has a flood of anonymous assassins to call upon following Wick’s trail of destruction to date.

The continued existence of Wick yields consequences for those who align themselves with him; a brutal truth that is delicately raised by the wonderful Hiroyuki Sanada’s character Shimazu, as another round of thugs descend. But that’s about as deep as it gets – story is secondary, spectacle is everything. And like its predecessors, the film exists in its own unique realm of ridiculousness; a place where Clancy Brown’s ‘Harbinger’ serves an eviction notice by unveiling a massive ornamental hourglass, and where Wick trades dancefloor blows with Scott Adkins’ Wilson Fisk-esque villain while the noticing revellers just continue dancing the night away. But we’ve not come here for social realism – we’re here for the kick ass baddassery of John Wick and the body count. And boy…ask and ye shall recieve

Director Chad Stahelski is an action maestro who, aided by stunt coordinators Scott Rogers and Stephen Dunlevy (yes we NEED a stunt category Oscars), orchestrates a symphony of destruction as electrifying as it is in-your-face. The ballet of violence, all marinated in a neon glaze, is beautifully choreographed and, unbelievably, still manages to pull new tricks out of its blood-soaked bag, whether it be Sanada’s staircase ascent using knives and a witless heavy’s body, or Reeves’ nunchuks razzle dazzle.

And while the set pieces in Osaka and by the Arc de Triomphe will dazzle, it’s also the brillance of the characters. Donnie Yen, as blind assassin Caine, does well, the Donnie Yen thing…and gloriously so.

It’s a veritable buffet of overblown excess, but not without the odd undercooked canape. Lawrence Fishbourne has almost blick and you missed it, little to do scene where he presents Wick with his dry cleaning like a subway-dwelling Q. Shamier Anderson’s bounty hunter ‘Mr Nobody’ is brilliant addition giving us a fresh character that is seemingly hellbent on that ransom to a sadomasochistic degree, making his later decisions a bit on the curious side. And one action set piece on the Sacré-Cœur steps seemingly threatens to go on forever, and it becomes my only gripe as it makes the film drag for a overly long bit of it’s 3hrs run time. But these are just nit-picks because despite being basically the same film for four installments now. Regardless of that ominous runtime, ‘John Wick: Chapter 4’ somehow delivers yet another furiously enjoyable slice of bloody mayhem that, bizarrely, doesn’t outstay its welcome. A true experience as when have you ever seen a franchise go better on it’s fourth go in?

Where the series goes next remains to be seen, but it would be remiss to not mention the quiet impact of one of the story’s key contributors – Lance Reddick. His calm yet imposing presence has been one of the joys of this saga, and, in light of the recent sad news, his final line in this chapter couldn’t be more poignant. “It has been an honour, my friend”. Sir, the honour has been all ours. Rest in power my friend, you will be so very missed.

John wick chapter 4 is taken to the next level and by far, one of the best action movies I’ve seen in a LONG time, Extraordinary filmmaking & action sequences with stakes heightened like never before. It completely earns its 3 hr runtime, something you will only rarely ever hear me utter.

Grade: A-

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Review screening: Wednesday, March 8, 2023 ~ Courtesy of Brigade Marketing

JOHN WICK: CHAPTER 4 FROM LIONSGATE IS NOW PLAYING IN THEATERS

Drama, Movie Reviews, Movies, Sports

REVIEW: “CREED III” (2023) MGM

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Adonis Creed isn’t the only person returning here as I myself, am also making a return of sorts. Having been out for months due to Long Covid, I am slowly making it back to screenings and reviews. There is still a bit of challenges on the road ahead, and I am starting slow – but what a great start to have with this film. Let’s also get the talked about elephant out of the room right off – Sylvester Stallone is not in this movie nor did he have any part in it’s making, making it clear to all. There was a big hoopla between him and Irwin Winkler, you can google it if you need to know more. Now on with the review…

Michael B. Jordan not only comes back as Adonis Creed, but makes an impressive directorial debut in the latest of the Creed post-Rocky series, delivering what might be the best Creed yet and a sequel that just might surpass some of it’s predecessor’s Rocky franchise films.

We all know Apollo’s backstory, or at least we thought we did as the opening of the Creed III begins with a flashback to 2005 and a young Adonis (Alex Henderson), plays the younger Adonis and his pal Dame (played by Spence Moore II as a child/Jonathan Majors as an adult). It’s clear that Dame is a boxing prodigy and on his way to the life that Adonis ends up having. Fast forward 18 years and the storyline shows us a retired Adonis Creed who is now a stay-at-home dad with his daughter Amara (Mila Davis-Kent), and successful wife Bianca (Tessa Thompson), who is now a music producer. One day while at the gym he started along with his trainer Duke (Wood Harris), he runs into an his old acquaintance Damian (Jonathan Majors). Dame, as he is better known, was a better fighter when they were kids, with a brighter future than his own, but they got in trouble and Dame is just fresh out from a 18 year jail sentence. Now that he is out, he wants what he feels is owed to him, which is essentially everything Creed has including a chance at the Heavyweight title of the world. In a storyline that not even Don King himself could create, Creed ends up giving him his chance, but it’s apparent he quickly wishes he didn’t as once the demon has been unleashed on the boxing landscape, the same man who unleashed may be the only man who can stop him.

There is a lot of story to be told during the first third of this film and For the sake of spoilers, I won’t go any further into detail, but I’m sure you can guess where that heads. But as we move along into what each and every Rocky or Creed film truely focuses on, and that is the boxing. Just as Stallone directed himself in several Rocky sequels, Jordan takes command and improves on the formula in unexpected ways. While something could be said that as a first-time director, Jordan relies too much on CGI auditoriums to capture the vast crowd on fight night, but the fight coordination itself makes up for the artifical backdrop in a huge way. There is a slow-motion strategy where Duke’s coaching or Creed’s eyes identify weaknesses in the opponent, and we as the viewer, feel as though we are completely involved in moment-by-moment, blow by blow with them. As well, Jordan gives us an upfront show in the tactical maneuvers behind the sport, that many just don’t realize is such a big part of it all. In probably one of the most beautifully filmed as well as probably one of it’s harshest, is when the combination of backstory and present story hit their mark when Donnie and Dame reach the emotional zenith of their match, everything else around them fades away. All at once, fog surrounds the ring, and the screaming fans disappear. The opponents see each other as children, and literal prison bars appear, locking them together in the ring. It’s a thing of beauty.

Acting wise, Jordan shines, and not just behind the camera, but he also delivers another great performance as Adonis. At this point, it feels like Adonis is a part of Jordan and vice versa. It’s his character, and he’s grown well past the days of being in Apollo Creed’s shadow. But make no mistake about it, the absolute steal of the film is Jonathan Majors performance. It goes above and beyond with layers to his story — more than any other villain in this franchise — and he’s more than just a part of one of Rocky or Apollo’s past opponents. He IS that guy and brings this character to life like no other.

With it’s bit of a cheesy Rocky-esque opening, this film quickly takes a twist into finding its own form, Whether this is the final time that we get to see Adonis Creed throws a punch or not, Creed III is the perfect end to this trilogy, if it is the end that is.

Grade: B

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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

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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+

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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+

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Review Screening: Courtesy of Ginsberg/Libby PR

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