Tag Archives: Anna Taylor-Joy

REVIEW: “THE NORTHMAN” (2022) Focus Features

As I struggled writing my initial mini-review of this film, at the same time, trying to convey what is to be said about director Robert Eggers upcoming film, “THE NORTHMAN”. The same way I’m struggling to put down in words here in my full review – to talk about this film as a whole.

So many are calling it so many things. With words floating about such as “masterpiece” it’s difficult to come out and say you don’t feel the same way as then there is wrath to face. Almost like the wrath brought down in the Hamlet-like version of a revenge story told here starring Alexander Skarsgård, Anna Taylor-Joy, Nicole Kidman, Bill Skarsgård, Willem Dafoe and yes, even Björk makes an appearance as a Seeress.

Alexander Skarsgård stars as Amleth in director Robert Eggers’ Viking epic THE NORTHMAN, a Focus Features release. Credit: Aidan Monaghan / © 2021 Focus Features, LLC

As it goes, Amleth (Alexander Skarsgård), is a Viking prince that as a young boy, saw his father King Aurvandil War-Raven (Ethan Hawke), murdered and his future crown taken, though he was able to escape before they could get their hands to murder him as well. Amleth then turns around and becomes one of the warriors fighting for the Vikings destroying village, possibly being one of the most berserkers of all the warriors in the group killing endlessly and mindlessly. Once he learns that his Uncle, Fjölnir the Brotherless (Claes Bang), i.e., the one who killed his father, he decides to leave and head off to make point of his childhood promise of “I will avenge you, Father. I will save you, Mother. I will kill you, Fjölnir.” This sends him to a new kingdom where he can come face to face with his Uncle to exact these words of revenge. Even though he is just a measly slave, he is patient in his ways, waiting for the right chance to make this happen, during this time meeting Olga of the Birch Forest (Anna Taylor-Joy), with whom he wants to make a life, but only once his revenge is enacted. Once there, Amleth is in for more than one surprise as while Fjolnir is still ruling over people, it is not the reign one would be expecting him to have. Queen Gudrun (Nicole Kidman), the mother of Amleth, with whom he thought was taken by force, might not be so upset after all. It’s a not a simple story to tell, watch or understand and it skips across years like the flight of the crow it presents in its myths.

The story told of Viking life in Iceland is not a light affair nor is it for the feint of heart. It’s a savage brutal affair full of mud, guts and one can guess glory at the end – if one can call what happens a victory, then by all means do. Raging full with a testosterone score-fest of blood, death and gore not seen since the days of Braveheart, the films fills the screen with toxic masculinity, myths, sorcery, rage, much to much grunting, and oddly, romance. While the film takes turns with itself, taking itself much too seriously at times, and at others the few spoken one liners are delivered so absurdly that the audience laughs, where it’s not meant to do so.

Claes Bang stars as Fjölnir in director Robert Eggers’ Viking epic THE NORTHMAN, a Focus Features release. Credit: Aidan Monaghan / © 2022 Focus Features, LLC

While one can see just by budget alone there was much thought and effort put into this, and some parts work better than others, but it never really comes together as a whole – most especially the last act which slogs it’s way through a sort of poetic refrain that just didn’t fit with the whole slash ‘n gore look of the beginning and the middle.

This movie is definitely an exercise, whether it’s a workout to watch for all whom aim to look like Alexander Skarsgård at the end will be a challenge for some as it was for me. That being said, I think many will attempt the feat and enjoy it much more than myself and how can one not be happy for that..

Grade: D

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Review screening: Friday, April 8, 2022 courtesy of Ginsberg/Libby PR

Focus Features ‘The Northman’ will be out in theaters Friday, April 22, 2022

REVIEW: “LAST NIGHT IN SOHO” (2021) Focus Features

Nostalgia can be a beautiful thing and “LAST NIGHT IN SOHO” takes us back to the Swinging 60’s of the scene in the famous entertainment district in London’s stylish West End in way I was completely not prepared for. The film however is also meant to be in the present tense and it’s the vivid intersecting of these two periods, that definitely take you on a ride that you just might not be ready for. What started out completely amazing for its first 2 acts-only switched gears to a different tone in the final act. Not necessarily a bad one, just maybe a gear or two off from what you expected or wanted.

As we see Eloise (Thomasin McKenzie), open the film in present day by dancing around her 60’s styled room, in a self-designed dress made of all things – newspaper. We soon learn she’s an orphan raised by her supportive grandmother (Rita Tushingham) and dreams of being a fashion designer. So she is thrilled when her acceptance letter arrives from the London School of Fashion. But it’s here we find out that Ellie also has visions of sorts and this should be kept in mind as she moves herself to London to carry out these dreams.

Once Ellie arrives in London, she is overwhelmed with the big city so to speak, and she immediately becomes the target of ‘mean girls’ and fellow student Jocasta (Synnove Karlsen). Rather than subject herself to the abuse, Ellie sublets an attic room from an kindly elderly landlord named Mrs. Collins (Diana Rigg). Ellie loves the room and her independence, but her dreams act as a portal back to those swinging 60’s of which she’s so fond. But that’s only the beginning. It’s here where she follows/becomes Sandie (Anya Taylor-Joy), and the mirror effects are truly other-worldly. Sandie is everything that Ellie wishes she was herself – confident, radiant, ambitious, and beautiful. This dream state allows Ellie to live vicariously through Sandie. At least initially.

Her dreams quickly become reality, as Eloise keeps magically getting transported back to 60s London, where she is mysteriously linked to the life of Sandie. These nighttime adventures allow Eloise to live the life she’s always wanted. But the honeymoon period doesn’t last for long, as these dreams gradually devolve into nightmares. The question of what is reality and what is dream begins to get muddled, as the glamorous white lights begin to fade and run into other worldly areas that take the movie out of the context it was in. It’s almost as it in three different parts, with parts one and two being the most creative and stylishly fun, and the third coming in to take it over as a different type of film altogether, and while not making it bad, there was a moment in between those parts where I thought I might be seeing what could’ve been my favourite film of the year had it not changed gears so completely.


With there being no true central villain to this story, as Sandie’s pimp and abuser, Jack (Matt Smith), is one of them, and plays his role with relish but the idea is truly that there are hundreds of villains and for a while, the villains are the ghoulish spirits of controlling men. But the main high points of this film is how it is loaded with so many great hits from the 60s, the score was haunting, beautiful, eerie, and pair that with the cinematography and you have a nice chef’s kiss of fun. And not to be remiss, but the costuming and designing here along with hair is absolute perfection when it comes to what they are trying to tell you with the story. Put all of it together and you will be apt to agree the film just looks phenomenal, from the way it’s filmed to the use of colors, it nails that aesthetic of 60s London, and makes you feel like you’re on the most mesmerizing trip.

Thomasin McKenzie and Anya Taylor-Joy were very good as honestly, Taylor-Joy lights up any screen she is on and gave the perfect amount of seductiveness needed in her time traveling role. McKenzie gives an equally good performance in the lead role as she brings that sweet sense of naivety and adorable cuteness, and lighthearted feel amongst the very dark and disturbing nature of many of the film’s elements, and moments where the film slowed down to focus on her character was never boring because she had such an energetic vibe to her and was quite entertaining to watch. Ellie’s admirer John (Michael Ajao), is a fellow student that also hasn’t seemed to fit in and seems to be the only genuine person at this university, offering friendship to Ellie, which nobody else there offers her, but their relationship almost seems more clumsy than real.

The finale twists up somewhat as just where you though you knew where the plot was headed once everything started to wrap up (or so it seemed), then make way as you’re hit with something game-changing for the story and while again, it totally veered into left field from what the beginning of the film started off – it still is a stylish mystery-type horror thriller that has it’s highlights and is worth the Halloween watch.

Grade: B-

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Review Screening ~ Courtesy of Film Independent

“LAST NIGHT IN SOHO” IS OUT IN THEATERS NOW