How to Make a Killing

Courtesy of Studiocanal

Though loosely based on the Ealing Comedy, Kind Hearts and Coronets, there are far too many similarities. Modernised and characters updated, some slightly changed to fit the times, it still feels very much like a copy. Very much in the vein of the Coen brothers version of The Ladykillers, but the less said about this film the better. How to Make a Killing however, tries to be it’s own story and film, but not relying on comedy as the key, which is a shame as this could have been the darkest of comedies if it had really leaned into it. Unfortunately, writer-director John Patton Ford decided to emphasise the drama and the tragedy, which, along with missing a prime opportunity to offer a different ending, is the film’s downfall.

After his mother was disowned by her own family, the insanely wealthy Redfellows, Becket decides to reclaim his inheritance by killing off his relatives, one by one.

Full review over at Filmhounds.

The Man Who Wasn't There

 

Courtesy of The Criterion Collection

The masters of the genre twist, Joel and Ethan Coen, known mostly as the Coen Brothers, know exactly how to follow up on a hit. Releasing O Brother Where Art Thou? in 2000 to critical praise and award nominations as well as box office success, they decided that their next film was to be the slow burn neo-noir, a genre they are very comfortable in, The Man Who Wasn’t There. An ironic title as this is probably one of the least talked about or mentioned films in their catalogue. Unlike O’Brother, The Man Who Wasn’t There was not a box office success, nor did it really click with audiences, though critics on the whole admired it. Joel and Ethan did actually win Best Director at Cannes the year of release, a joint win with David Lynch for Mulholland Drive, but its a fact that is quietly forgotten about. The cinematography was universally praised and definitely reflected in the nominations for their frequent collaborator Roger Deakins, yet apart from these facts, the film has remained a piece of background history. Obviously seeing something in the film and believing it deserved its turn in the spotlight, the Criterion Collection has chosen to release a 4K version, giving fans of the Coens a chance to revisit it as well as curious new viewers to witness this unusual yet straightforward film.

Full review over at Filmhounds. 

Sweetness

Courtesy of Saban Films

 

If films (and books) such as Misery and The Fan (1996) have taught us anything, we know as soon as someone declares themselves as someone’s biggest fan, we know they’d literally do anything for the object of their admiration and we can assume bloodshed to swiftly follow. This set up of a famous person meets an obsessive fan usually shows us that its the average person who is the delusional one and that the famous person was just unlucky to encounter said fan. Sweetness tries to slightly switch this well worn dynamic by throwing in some extra unpleasantries, but does inevitably fall into familiar story territory.

Teenager Rylee is a devoted fan of Payton Adler, singer and songwriter for the band Floorplan. By chance she gets to meet him after a show, only to realise the recovering addict has relapsed. Her obsession with the singer becomes even more intense as she believes she can save him from his demons, even if it means handcuffing him, trapping him in her house.

Full review over at Filmhounds.

LITTLE AMÉLIE (or The Character of Rain)

 

Courtesy of Vue Lumiere

Animation outside of the major studios has been evolving. While we’ve all been slowly getting fed up with the sequels (except for Zootropolis 2) and uninventive stories being churned out, animated films have been making a huge impact. The likes of K-Pop Demon Hunters dominated last year, Flow making a historical win at the Oscars and one for the adults, stop motion animation film, Memoir of a Snail leaving an impression on audiences, animated films are evolving, or at least more are being seen by wider audiences. It's exciting to see the weird and unusual animated films alongside the more emotional and grounded stories being honoured at award ceremonies. Little Amelie or The Character of Rain is a shining beacon of hope that progress is being made.

Based on the memoir by Amélie Nothomb, the film follows Amelie, the youngest of three, born into a Belgium family living in Japan. We witness Amelie from birth, as she learns her place in the world and discovers the wonders of the world and her close bond with the family’s housekeeper Nishio-san.

Full review over at Filmhounds.

Birth

Courtesy of the Criterion Collection

 

Jonathan Glazer has carved out a niche in the film world, directed four features (so far) but each so very different as the last. Story, genre, cast and setting may divide Glazer’s filmography but the atmospheric, cold, stylised and quietly unhinged tone in each film is undoubtedly Glazer’s signature. Released in 2004, Birth, screened in competition at Venice and garnered attention, even earning Nicole Kidman award nominations. However, the film wasn’t received with open arms from the critics, citing the film suffered from a disorganised plot and rather uncomfortable scenes. With the film’s Criterion Collection release, we are offered another opportunity to re-watch this strange and melancholic psychological drama about grief and obsession.

Ten years after the death of her husband Sean, Anna accepts a proposal from her new boyfriend, Joseph. One day a 10 year old boy visit’s Anna’s family’s apartment claiming to be her deceased husband Sean and urges her not to marry Joseph. As Sean persists he is telling the truth, everyone doubts the boy’s claim, except for Anna who starts to hold out hope that maybe he really is Sean reincarnated.

Full review over at Filmhounds.

The Housemaid

Courtesy of Lionsgate

 

Whether you love it or hate, The Housemaid is a strange beast. Directed by comedy aficionado Paul Feig and starring ‘of the previous moment’ Sydney Sweeney, in what we’ve been told is an erotic psychological thriller seems like a very odd mix. From the very off kilter tone, the very basic fronting performances, not to mention the irritating voiceovers, The Housemaid feels immediately familiar especially as the tension builds to the twist we expected all along with an underwhelming climax.

Freshly paroled Millie managed to secure a job as housemaid in the up-scale home of Nina Winchester, her husband and daughter on Long Island. Almost immediately, Nina’s erratic and antagonistic behaviour makes Millie feel uneasy. On contract, Nina’s husband Andrew is patient, calm and welcoming. But desperate to keep her job, Millie puts up with Nina. Over time Millie discovers secrets the family are trying to keep hidden until it's too late for her to escape.

This film came across throughout the marketing campaign as a slice of escapism but in fact its a straightforward low-key thriller trying to be an erotic one. The very few moments where the film tries to justify this label are anything but. There is an art to creating an erotic thriller and we haven’t seen a decent one in quite some time. But concentrating on everything else in this film, there is a pattern. The angry, rude, slightly psychotic wife of a wealthy nice guy takes on a seemingly innocent blonde to work for her. Oh I wonder what the twist will be, as there is always a twist. Set up from the start as we see Millie sleeping in her car, going to parole meeting, we know what her crime was before she even says it. The nice husband who everyone loves, we have to wait quite some time for the shoe to drop on this trope. And finally the mysterious groundkeeper handy man who, oh wait, never mind, he barely speaks and is barely on screen. So in actual fact, the biggest twist is, why did Enzo even get a character poster to himself? 

 There is some entertainment to be had, Amanda Seyfried as unhinged Nina is quite fun to watch. But the voiceovers from both Millie and Nina were really not needed. Adaptations do sometimes suffer this, just to get through inner thoughts and backstories, but there are ways to get away from this.

We have Booktok to thank for the hype around the book. Mediocre books being made into anything between complete trash and predictable (not because of adaptation) stories meant to shock and please. There are no doubt great stories out there and probably more of the same to come. The Housemaid is here to entertain, and there is a very good chance that it won’t. Going into this film expecting something new and exciting, you will definitely feel short changed. But if you’re expecting schlock you can half pay attention to, then this is one for the collection.