Skip to content

TagFilm Reviews

First Man

First Man

FirstManPoster.jpg

 

We’ll never fully realize the level of courage and sacrifice required from the astronauts of those early NASA space missions. They put everything on the line, leaving behind their families and laying down their lives in the name of science and for love of country. It often came at a great cost. And if they were successful and lucky enough to survive their missions, they came back to earth as national heroes, their immortality secured.

“That’s one small step for man, one giant leap for mankind.”

Space exploration movies like The Right Stuff (1983) and Apollo 13 (1995) offer a glimpse into this world. Director Damien Chazelle’s First Man is the latest in a line of space age dramas and it celebrates one of the greatest accomplishments in human history, the moon landing, through the story of one man, astronaut Neil Armstrong.

First Man follows the story of Armstrong (Ryan Gosling) from the death of his young daughter, to his extensive training and his two biggest missions: Gemini 8 and Apollo 11. The story is equally split between Armstrong’s time at NASA and his work with his fellow astronauts and engineers and his home life with his wife Janet (Claire Foy) and his two sons. The film is just as much a space exploration story as it is  a character study of a complicated man who suffered a tragic loss and struggles to connect with his family. Much time is given to Janet whom, one might be able to argue, is just as courageous as her husband. She has to deal with the stress of not only her husband’s dangerous missions but also his emotional unavailability. In addition she has to keep up her strength to raise her two boys while also being strong for the other astronaut’s wives who inevitably suffer great tragedies of their own.

Ryan Gosling does a marvelous job as the subdued and introspective Neil Armstrong. However I think Claire Foy has the breakout performance as his long-suffering wife Janet. She brings an intensity that not only matches beautifully with Gosling’s performance but also stands on its own. Technically the female parts are far outnumbered by the male but Foy’s performance claims so much of our attention that it feels more like its equally divided than one sided. I wouldn’t be surprised if come award season Foy will be recognized for her performance. Another counterbalance to Armstrong’s character is Corey Stoll as Buzz Aldrin. Buzz is the outspoken, opinionated and charismatic astronaut, the complete opposite of Neil. I love their scenes together. Jason Clarke, who plays the doomed astronaut Ed White, is very well suited for his character and for mid-20th century parts. He just has that look that works. I was happy to see one of my personal faves Ethan Embry in a small role as space engineer and astronaut Pete Conrad.

ClaireFoy.jpg

 

First Man must be seen on the big screen for the full impact. I watched it at my local IMAX theater after having missed an opportunity to see this at TIFF. The technical advancements in filmmaking contribute to powerful and awe inspiring depictions of Gemini 8 and Apollo 11 missions. I love how the film lingers on the moon landing, providing the original audio for those first crucial and historic moments but we also spend time in Armstrong’s personal bubble as he takes in his surroundings and taps into some of the emotion he’s been trying to suppress. The Gemini 8 scene was my favorite. It felt so realistic, almost as if I was in the space shuttle with the astronauts. We get a sense of how much power is needed and how many things have to go exactly right to thrust these astronauts into space.

 

 

 

First Man is a technical marvel in filmmaking that puts the audience in the spacecraft and on the moon for a thrilling experience.  It’s also a reserved yet poignant character study of a man on the brink of a great achievement who is struggling with his own demons. It deals with an important subject seriously but never becomes cheesy or pretentious. A must see.

London Fields

LondonFieldsPoster

Nicola Six, S-I-X

Nicola Six (Amber Heard) always knew exactly when she was going to die: on the day of her thirtieth birthday. The man who was going to kill her would be waiting for her in a parked car. But she didn’t know how or why she would meet her untimely demise. And she definitely didn’t know who. Then one day she enters an underground club and meets three men, one of whom would be her killer.

First there was Keith Talent (Jim Sturgess), a champion darts player with a penchant for gambling. He’s a shady character, always looking for some new delight to tickle his fancy. Keith is constantly plagued with outstanding debts, including a big one to rival darts player and flamboyant gangster Chick Purchase (Johnny Depp). Then there’s Guy Clinch (Theo James), a straight-laced business man in a loveless marriage that produced a psychotic child. Guy sees an escape with the beautiful and seemingly vulnerable Nicola. Finally there’s Samson Young (Billy Bob Thornton), the narrator of the story. He’s an author struggling with writer’s block. In Nicola he finds his next novel. As he follows her while she tries to make sense of her premonition, he works her story into his. Truth blends with fiction and we don’t know if some of what we’re seeing is scenes in Nicola’s life or figments of Samson’s imagination.

And what about Nicola? We learn bits here and there about her life story. Ever since she was a young child she had premonitions. She predicted her parents’ death in a plane crash and countless other tragic events. Knowing her life would be cut short, Nicola lived for the moment. Using her looks and sex appeal, she would draw men into her snare. When she meets Samson Young she finds a kindred spirit, another soul on the brink of death. Will Samson help Nicola discover herself or will he just be another participant in her demise?

London Fields was directed by Michael Cullen and ever since it’s attempted release three years ago it’s been plagued with problems. An international premiere was intended for the 2015 Toronto International Film Festival but when director Cullen filed suit against the producers for making significant edits to the final film, TIFF pulled it at the last minute. And to add to the drama, the producers sued star Amber Heard for refusing to attend the planned TIFF premiere. Furthermore, Heard accused then husband Johnny Depp, who appears in an uncredited role in the film, of spousal abuse. The producers settled the lawsuit against Heard earlier this year clearing the path for what in turn would be the release of Cullen’s final edit of the film. However, the director will be going to court with the producers in early 2019. London Fields was released in the UK earlier this month and had a limited release in the U.S. on October 26th.

The film’s story, based on the high praised novel by Martin Amis, is an interesting concept but poorly executed. I loved the idea of a meta story, something happening in real life that is in turn being adapted into a novel. But London Fields turned out to be a convoluted mess. The reviews leading up to U.S. release were not promising. I didn’t have high expectations but was hoping for at least an enjoyable mystery with a sexy femme fatale. Unfortunately the film overall was kind of a slog to get through. I was particularly interested in Amber Heard’s Nicola Six and was hoping for at least an interesting and complex female protagonist. In one of the scenes with Billy Bob Thornton’s Samson and Heard’s Nicola, he discusses writing her character in his book and is worried that he will be accused of creating a one-dimensional object of male fantasy. And that’s pretty much what Nicola is in this movie. We learn about her past, we see how she interacts with the three men, we see her struggle with being understood yet we don’t really learn much about her. Heard delivers a decent performance as Nicola Six. She’s sexy as all get out but can’t surpass a highly flawed storyline. If there is a stand-out performance in this film it’s Heard’s boob glue/tape that holds her wardrobe in place, defying all laws of gravity.

1528314672688

I don’t know if it was the theater or the film itself but the audio quality of London Fields was very poor. It was somewhat muted and I could barely understand half of what Jim Sturgess was saying. Guy’s psychotic child was played a short adult which I thought was an odd choice. Cara Delevingne has a small role as Keith’s long-suffering wife and mother to his child. It was a role beneath her capabilities in my opinion. I also wished the film explored the apocalyptic state of London towards the end of the story. We see fires and explosions all over the city, symbolic of Nicola and Samson’s impending demise. But they’re never explained. A lost opportunity to add some richness to the story.

If London Fields has anything going for it it’s Amber Heard’s sexy performance but that’s about it.

 

Thank you to Satiated Productions for the opportunity to see London Fields.

TIFF Review: Colette

Colette

by Raquel Stecher

Colette
dir. Wash Westmoreland
starring Keira Knightley, Dominic West, Denise Gough,

Review:

Colette was a woman ahead of her time.

Wash Westmoreland’s biopic follows Colette (Keira Knightley) from the age of 18 to 34; the pivotal years when she was married to writer Henry Gauthier-Villars, also known by his nom de plume Willy (Dominic West). Colette starts her married life as a dutiful wife, helping Willy out with his business which involves hiring writers to create stories to be published under his name. Willy is a complete cad, spending the family finances on prostitutes, in gambling dens and treating others to expensive meals. When Colette tries her hand at some writing to help Willy out, the Claudine novels are born. Published under Willy’s name and not hers, these stories become the toast of Paris. As Colette begins to discover her authentic self, Willy finds himself losing control over her. We follow Colette’s trajectory from spunky country girl to fully realized woman and creator. She comes into her sexuality discovering her physical attraction to women. As Colette and Willy’s relationship falls apart, she falls for Missy (Denise Gough), a woman defying society by presenting as a man. Through her personal and professional relationship with Missy, Colette blossoms and finds the strength within herself to live courageously.

“My name is Claudine, I live in Montigny; I was born there in 1884; I shall probably not die there.”

The first line of Claudine are repeated throughout the film as a declaration of identity. And that is what this film, a story about discovering your true self.  Colette is a superb character study exploring gender dynamics and politics within the confines of deeply entrenched double standards. The real life Colette challenged sexual norms while finding her agency. Her message of female empowerment is desperately needed today.

 

colette_02

colette_04

The idea to bringing Colette to the big screen came from Colette herself. In conversation at the Colette press conference at the 2018 Toronto International Film Festival, Westmoreland said he and the late Richard Glatzer found Colette’s story to be  “a compelling narrative of a woman creating while a man was taking credit.”

As someone who loves a good period piece, Colette was rich in period detail. The cast wore real costumes of the era and scenes were shot in historic buildings. This imbued the film with a great sense of place and time. The part Colette fits Keira Knightley, no stranger to period pieces, like a glove. At the press conference she proclaimed, “I stood very tall when I played Colette. She was a maverick.” Colette is quite bold for a period piece. Comparing it with the relatively tame period pieces of previous decades, this movie demonstrates that you can still tell a story about the past that is provocative and interesting to contemporary viewers. Westmoreland went on to say, “for a long time period pieces have gotten a reputation for being a kind of safer genre. But I think at the moment there is something happening with period pieces that are radicalizing.”

Westmoreland found many parallels to Colette’s turn-of-the-century France with modern day. It was an era when people were questioning gender roles and women were demanding more access to power.  Westmoreland collaborated with screenwriter Rebecca Lenkiewicz, who added the necessary female insights needed for the script. Actress Denise Gough called the casting one of the most progressive that she’d ever been involved with. Westmoreland went on to say:

 “With the casting we tried an approach that I don’t believe has really been tried before of having a very inclusive cast. We have trans men playing cisgender characters. We have trans women playing cisgender women. We have an out lesbian actor playing heterosexual. We have our gay actor playing someone who said he was heterosexual, we’re not quite sure. And we have Asian British actors playing characters who were historically white. We have a black actor playing someone who in history was white. And guess what? It all works. And these have been sacred rules for so long…. Colette broke a lot of rules so we though we should too.” – Wash Westmoreland

 

 

 

Colette is in select theaters starting today.

I attended a press and industry screening as well as the press conference for Colette at the 2018 Toronto International Film Festival.

TIFF Review: The Wedding Guest

053A7238.CR2

by Raquel Stecher

The Wedding Guest
dir. Michael Winterbottom
starring Dev Patel, Radhika Apte, Jim Sarbh

Review:

It’s seems like a disservice to you, dear reader, for me to summarize the plot of this movie. The greatest joy I experienced while watching this film at TIFF was going into it knowing nothing. With no trailer and only a vague description, I had no idea what I was getting myself into. I found myself enveloped in this world, not knowing what was going on or who these characters were or where this story was taking me. It was magical.

IMG_2712

IMG_2728

Jay (Dev Patel) is a mysterious traveler arriving in Pakistan for a wedding. He’s not your average wedding guest because he’s there to kidnap the bride Samira (Radhika Apte). Jay’s been hired by the bride’s secret Indian beau Deepesh (Jim Sarbh) to save her from an arranged marriage. When Jay kidnaps Samira, his carefully executed plan is thrown off by a nosy bodyguard who Jay has to kill to escape. When Jay tries to return Samira to Deepesh, things are not as they seem. As news of the bodyguard’s death and bride’s kidnapping spreads, Jay and Samira find themselves on the run.

Director Michael Winterbottom’s The Wedding Guest is shrouded in mystery. It draws the audience in, peeling back the layers of the story all the while holding us at arm’s length. I got lost in this world, in the setting, in the lives of Jay and Samira. And these characters are two of the most perplexing and enigmatic ones you’ll ever encounter on screen. Every time I learned something new about them, a morsel of information, it made me hungry for more. We don’t fully understand them but we’re willing participants in their game.

Patel and Apte deliver A+ performances. Sarbh doesn’t have a big role but he stands out as the shifty beau with a secret agenda. The film was shot in India and Pakistan with a small crew which gave the film a profound sense of realism (you feel like you’re right there with them) and also an intimacy. The movie is filled with really amazing cinematography and some great aerial shots courtesy of Giles Nuttgens.

The Wedding Guest is a superbly crafted mystery with terrific performances.  Winterbottom is such a versatile director. Go see this one!

I attended the world premiere of The Wedding Guest at the Elgin Theatre as part of the 2019 Toronto International Film Festival.

Below is a Q&A with Winterbottom, Nuttgens, Patel and Apte. However it does have a major spoiler so I don’t recommend watching it until you’ve seen the film!

TIFF Review: The Man Who Feels No Pain

ManWhoFeelsNoPain

by Raquel Stecher

The Man Who Feels No Pain (Mard Ko Dard Nahin Hota)

dir. Vasan Bala
starring: Abhimanyu Dassani, Radhika Madan

Congenital Insensitivity to Pain. Google it.

Surya feels no pain. Born with a rare condition, newborn Surya survives a chain-snatcher attack that leaves his mother dead and his father and grandfather injured. It’s up to the patriarchs in the family to protect Surya. Because he can’t feel pain, he has to wear goggles to protect his eyes (he won’t notice a foreign object scratching his cornea) and other safety gear. Obsessed with action movies, Surya uses what he’s learned to take on the bullies in school. He teams up with his best friend, Supri, a school girl raised by an abusive and alcoholic father. His biggest advantage in these fights is not being able to feel pain. However his greatest downfall is rapid dehydration which will make him “fall like a log.” Behind the back of his overprotective father, Surya’s grandfather teaches him how to stay hydrated and encourages him to train. Surya’s hero, Karate Man who famously defeats 100 opponents and is not hindered by having only one leg, drives Surya’s desire to fight the chain-snatcher gangs who took his mothers life. Years later Surya reunites with his childhood friend Supri who is now a highly skilled fighter. When Karate Man’s evil brother and his gang of street fighters threatens the community, Karate Man, Surya and Supri come together to take on these foes.

The Man Who Feels No Pain Still 4

“I feel like Rocky Balboa”

Screen Shot 2018-09-16 at 2.39.44 PM

The Man Who Feels No Pain is a hip action movie with kick-ass slow motion sequences, infectious music, and a lead actor who is posed for stardom. I appreciated the classic storytelling with the hero’s origin story, unusual birth, a strength that makes him stand out from the rest (his insensitivity to pain) and a weakness that threatens to bring him down (the danger of dehydration). It pays homage to 1960s-1970s action movies especially those starring Bruce Lee. The movie is filled with pop culture references and fun retro-style typography.

 “Since childhood Martial Arts movies have been great escape, I guess it’s similar all around the world. Everyone knows Bruce Lee and Jackie Chan, not all have to love them but you know them. They have been our legends and the greatest stories wrapped in miles and miles of VHS tape. The quality of the image didn’t matter, the sound didn’t matter, the moment the Golden Harvest or the Shaw Brothers logo came on, we knew we were in for a spectacular ride.” – director Vasan Bala

This is star Abhimanyu Dassani’s screen debut and boy does this man have charisma. Actress Radhika Madan has great screen presence and is such a bad ass in this film. I would love to see more from her. In a film with a predominantly male cast, I appreciate that the female characters we do get to see are tough and hold their own, from Supri’s fearless mother to Surya’s street fighter.

I was really looking forward to watching The Man Who Feels No Pain and it did not disappoint. It was thoroughly enjoyable and I’m dying for a copy of that amazing soundtrack. The cinematography is stunning. Visually and stylistically this film is pure eye candy. There is much to enjoy with this movie and I hope people who love classic action movies will check this one out.

The Man Who Feels No Pain was part of the Midnight Madness series at the 2018 Toronto International Film Festival. It won the Grolsch People’s Choice Midnight Madness Award voted by TIFF attendees.

JustWatch.com