My Old Ass

 

Circumventing the typical coming of age cliches is a difficult task, the key is creating fun, refreshing characters and My Old Ass succeeds all round. Not only do we have a lead character on the brink of leaving for college, but she also has an existential meeting with her older self which throws curve balls in her plans she never would have expected.

Meeting your older self could be seen as one massive spoiler, but Elliott the younger is still able to have the same experiences as her older counterpart, most likely made richer after taking advice from Elliott the elder. Her rollercoaster of emotions and discovery, in such a short space of time, feels condensed and maybe too much is meant to happen, but in retrospect a lot can happen and change your life in just a few weeks. A strange dream like scenario, as who wouldn’t want to talk to their older selves, Elliott faces this truth and accepts the situation very quickly, a trait, she points out, that is of the young. As always Aubrey Plaza, as older Elliott, is a gift on screen and even though she is only on screen (voice for the most part) for a short time, she leaves a lasting impression. But this story belongs to Maisy Stella, who plays the younger Elliott and she displays a panache for the dramedy. Encapsulating the fun carefree side of Elliott but still able to display wisdom that her older self could also learn from, the balance is maintained.

My Old Ass, is a light hearted, unexpected twist on the coming-of-age genre with a little bit of something extra thrown in. Supposedly science fiction, but who knows!

Risky Business

 

You know the scene, you know that image of very young Tom Cruise’s grinning face in sun glasses, you already know something about the film even if you’ve never seen it. Sliding around the floor in just his socks, underwear and shirt, parents gone, house to himself. This scene is the one that everyone has seen before. But what’s incredible is that this is but a snippet of what Risky Business is about. 

 

When his parents go away on holiday, leaving him in the house alone, High School senior Joel decides to make the most of it. After been hounded by his friends, Joel invites call girl Lana over. But after a night of sexual pleasure, Joel finds himself stuck with never ending problems, including having to fix up his father’s prized car. To try and help, as well as helping herself, Lana convinces Joel to have party, he invites his friends and she’ll invite her friends/co-workers.

With the famous scene near the start of the film, there is room to sink in and just watch the chaos ensue as Joel makes one bad decision after another. Joel’s naivety is what brings him down throughout the film. Teased by his friends for not having sex yet, practically hoodwinked into ending up with a call girl and then being abandoned when he needs help, at least they all show up for his extra special party. Joel can do no right in this film, except maybe in Lana’s eyes. Despite the mad dash to the finish line to have everything in the house back in order, all it takes is one tiny crack in a glass egg for his parents to be disappointed. The sense that, Joel was doomed no matter what, makes the film have a slight scent of reality and grounds the whole story just for a minute.

Unlike his friends, Joel isn’t shown to have a special skill or academically inclined, he’s painted as an average, half decent guy just trying to get through high school. But he comes into his own when he must ‘sell’ the party to his friends. Though, enticing wealthy teenage boys to come to a party with lots of willing beautiful girls isn’t a tough sell. But still, Joel seems to be finally in his element and there’s even a hint to that typical Tom Cruise ‘charm’ that we’ll see in all his later films. Pairing opposite Cruise is Rebecca De Mornay as Lana, who almost matches his energy. Coming across as someone who takes opportunities where she can Lana is an enigma and unlike Joel who we seen some development, Lana remains a mystery. We’re never quite sure who truthful she’s being, anything she does to ‘help’ Joel is also beneficial for her. From over dramatic and ethereal entrance to her ambiguous last few lines, Lana never gives too much away, which would be infuriating if the story was over a longer period but a week, she’s just a base character, she could have been more.

There’s no question as to why this 80’s teen comedy is considered a classic. It is not just the breakout roll from one of Hollywood’s biggest stars, it represents a teenage boy’s dream and pure farcical entertainment at naïve boys for the teenage girls, a common trend in 80s teen movies. Risky Business is entertaining and though would never have worked outside its release era, there’s still many laughs to be had.

Turn Me On

 

The idea that supressing emotions would be the answer to all life’s problems and would solve conflicts, with people living harmoniously and being left, content, is plot device that seems to be cropping up more than expected. But thankfully each iteration focuses on certain aspects that at least has a familiar but different feel. Turn Me On offers something new, in losing your emotions, you also lose your memories when taking the magic pill, or in this case, vitamin. But there is more to this story that at first meets the eye. 

Living in a closed off community where residents take a daily vitamin which eradicates all emotions, Joy (Bel Powley) skips her daily dose. Going on an emotional journey of discovery, she convinces her partner William (Nick Robinson) to stop taking the vitamin. Together, their world opens up, but also exposes them to not only damage emotions can cause, but also leaves them in a precarious position within the community with strict rules.

Full review over at Filmhounds 

Anora - London Film Festival

 

After his previous critically acclaimed films, director Sean Baker has created a very different kind of story. Still exploring and highlighting the lives of sex workers, Baker chooses to go big, really big, this time round, not only in scope but with his characters. Ani, the eponymous Anora, is the definition of a larger-than-life personality. Her energy and enthusiasm is matched by Vanya and the two of them actually make an adorable, if naïve, couple for a short magical time. But faced with problems that seem out of their control, their lust for life turns bitter. The whirlwind romance, the comedic tone all but disappears swiftly becoming something darker, still sometimes amusing, but eventually a slap in the face. The condensed ‘happy’ period in both Ani and Vanya’s lives feels like a literal dream as reality sets in. Baker managed to cram several turning points (and genres) into the story that don’t feel overcrowded, but instead feel oddly realistic as the story flows easily and steadily towards a very depressing end. 

There are many things to take away from Anora, but the glaring obvious is the disparity of privilege. The disappointment hits differently for Ani and Vanya. The latter, a spoilt overgrown child who saw the whole experience as just that, with no remorse or care for anyone else who was involved. Vanya got what he wanted and though he tried desperately to hold on to his freedom, as he sees it, ultimately it breaks and gives up. Ani, however, a genuine person from start to finish, who seems to have very little, was given a new life, a love and all was taken away within minutes. Her world was turned upside down and dis-guarded as soon as she was no longer needed, or desired. 

Anora, as a film, is a force of nature. From dramedy to romance to dark comedy to harsh realism, the story takes you on journey and doesn’t miss an opportunity to gut you, whether you’re laughing and staring, with an empty feeling at the screen. Mikey Madison has been rightly praised for her performance as Ani, which really rides the wave of emotions. There will be surprises if Anora is picked up as a real contender during awards, this film has caught people’s attention and should hopefully hold the spotlight throughout the season.

The Balconettes - London Film Festival

 

Mixing genres in film is always an exciting approach, especially if the subject is darker and needs a fresh take. Director and co-writer Noémie Merlant said that she had originally set out to write a love story but ended up with The Balconettes. Though, she also pointed out, there is a love story within the film, one of female friendship. At its core, the film broaches a darker subject, but in order not to sink the characters into despair, comedy with a bit of supernatural weirdness balances the story and ultimately creates that fresh take that is needed. 

During a heatwave, three friends in living in Marseille find themselves cooped up in their apartment. Across the way, they observe a mysterious handsome man. Through a few dramatic and comedic errors, the three of them find themselves in the man’s apartment for drinks. But later that night, one of the friends returns home covered in blood and the three women find themselves living out a nightmare.

Full review over at Filmhounds.

Me, Myself & The Void

 

When a stand-up comedian, fresh from a difficult break up, finds himself staring at his unconscious body on the floor, he must work out how he got there and whether he can escape the void he’s ended up in. 

Me, Myself & The Void is an unusual film, featuring characters we have definitely seen before and story beats that are expected. But the void itself is something different and there is plenty of time given to explore it. There seems to be two sides to this self-examination, one is a well-timed comedy with a darker edge, the other is an intriguing idea that would have worked better as a short film. 

There’s no denying that Jack De Sena who plays our hero, Jack and Chris W. Smith who plays the best friend Chris, have excellent chemistry. Taking their comedic timing and entertaining banter from their TV show and bringing it into the film seemed quite seamless. The characters they both play also feel like a slight step away from themselves, enough to make it clear, their characters’ names are coincidental. Having Chris appear as Jack’s subconscious was also a narrative choice that made sense, Jack needs someone to bounce ideas off as well as a familiar face to help him through whatever it is he’s going through. Kelly Marie Tran as Jack’s fresh ex, Mia is also a welcome edition to the void as another part of Jack’s subconscious. She doesn’t upset the balance between the leads and holds her own, lighting up the flash backs with her vulnerability and her brand of charm. 

 

There is plenty to admire about Me, Myself & The Void, particularly, as pointed out by one of the characters, the Dogville style set up of the void. This separation from reality, essentially placing the real world in pieces set up like a stage making the obvious connection to Jack’s life on stage as apposed to how he is off. But there is also the nagging sensation that this exploration into the void, Jack’s version of the void, could have been resolved far quicker than it was. Part of the fun of the film is the mystery as how he ended up on the bathroom floor but this mystery is soon stripped away, leaving the again, obvious answers as why is Jack in this state. This could have been even more effective if condensed to a sharp short film, making the feature feel drawn out.

Overall, despite some narrative glitches, Me, Myself & The Void, boasts fun fresh performances from the leads.

Me Myself & The Void debuted worldwide on Digital VOD October 1, 2024, including Apple TV and Prime Video