Let's Talk About Greta

Let’s talk about Greta.

Please be aware, there are SPOILERS, but none that would spoil the film.

Earlier this year it seemed that a new trend in psychological thrillers was starting, one involving older women as the villain, the threat but after ‘Ma’ and ‘Greta’, the trend died down. Unlike the former, ‘Greta’ had something different to bring to the horror/ psychological thriller border, it’s all about the women and barely a man in sight.

For those who didn’t watch any of the trailers out there for the film and for those who didn’t see it at all, ‘Greta’ is about a young woman, Frances, who has recently lost her mother and moved to the city to be away from her father who doesn’t show much interest in her. While she stays with her best friend and works as a waitress in a fancy restaurant, she feels as if she’s missing something. This is when she finds a small green handbag and does the opposite of what any old city dweller would do, she decides to take it to back to the owner in person. She meets Greta, a widow, living a quiet lonely existence and who appreciates the kind gesture. The two soon becoming friends, giving what the other seeks, comfort. But with all too good to be true happy coincidences, Frances discovers that Greta actually has lots of small green handbags, each with names and numbers on them as well as fresh ones just waiting to be left around the city.

This isn’t just your basic lonely lady turns stalker thriller horror, there is thought behind the divinely simplistic plot and the three main character triangle. In any other story, there would be a lame half constructed love story somewhere buried and in another type of story, there would a sexual element, especially if Greta was switched for male character instead. But these twists and turns aren’t needed in Neil Jordan’s film, he has two leads and one supporting that make their own impact on screen. Suspense and intrigue are still part of the story, with information about Greta’s past coming to light little by little and it’s not a completely unbelievable one either. She had a ‘difficult’ relationship with her daughter who is now dead so the information is second hand, adding more to the suspense and mystery of what Greta is really capable of and as Greta’s crazy outbursts get worse, you really don’t want to know what she will do, you would think that was enough to never go back to her house again, but Frances doesn’t stop to think about this.  

With Isabelle Huppert as Greta, the mystery and charm that surrounds the character is already built into her persona. Making Greta a piano teacher was also an excellent touch as not only could it be a nod to one of her most famous films but piano is and will always be seen as something you must control. Greta wants to be a mother to Frances but she wants everything her way, she must have ultimate control, much like the piano teacher. Chloe Grace Moretz as Frances is probably having the thankless role in the story, as the kind of person who still holds small town ideals and believes that you can be kind to everyone. Selfishly, she does want a mother figure to be around as she misses that connection but in doing so, she ignores her friend’s very open and obvious warnings. But her role is thankless because she is the victim caught in Greta’s web of madness so has to act accordingly. The ace in the pocket of the film is Erica, Maika Monroe, who continues her scream queen status (sort of). She is the voice of reason, be it from a wealthy family who lives in an amazing loft apartment in New York. She is meant to be the rich clueless party going background noise to Frances’ kind simple values and quiet demeanour, but instead she is the third piece in the character triangle. Refreshingly, Erica takes the place of the ‘love interest’ and is the best friend/roommate/street wise New Yorker who doesn’t hold a grudge and doesn’t let arguments with friends be the end of the conversation, she is the saviour. But the best part of this whole film is that because it’s a very simple plot, with characters that have very obvious motives (to an extent) everything is accepted. There is very little to question apart from why is Frances’ dad so useless and why was Stephen Rea even in the film? Which again, is something so rarely thought about with this type of genre film. The threat of Greta is something to be feared but if you have friends like Erica, they have your back.

Its time to take another look at ‘Greta’ and appreciate what she is.

Brittany Runs a Marathon

I’m sure I’m not the first person to look at themselves in the mirror then at the exercise bike in the corner. You know the one with dust on it as its been some time since you’ve taken that out for a spin. Then vow to themselves that they will make a change. But 10 minutes later they’re back at the computer or watching a film eating off brand Oeros. Writer and director Paul Downs Colaizzo was inspired by his roommate Brittany who did in fact turn her life around and run a marathon to write a story, not entirely about her but inspired by her. This morphed into ‘Brittany Runs a Marathon’ and it is by far more about than a story about a woman who goes running.  

Brittany is 28 years old; she leads a very unhealthy lifestyle. All her friends and people she knows seems to be getting their life together except her. She works at a theatre in the evenings, parties until the very early hours then slumps home and sleeps most of the day away. She’s broke, in debt, drinks, takes pills, gives blow jobs to guys in bathrooms at clubs and eats junk food. But after going to the doctor who tells her she needs to lose weight, she is spurred on to start running. But this pathway was never just about the weight, she wants to improve her life and feel good about herself.

For a film title that is very literal, the film itself is about much more. Brittany doesn’t just run an actual marathon; she runs a life marathon and goes through so many stages. The repetition of her standing ready to go running for the first time is used whenever she feels like she’s going to relapse or when she is about to take the plunge. Its showing that we will always have a fear in the back of our mind that we end up revisiting time and again but it is possible to overcome it. Brittany goes through changes, not just the satisfaction of losing weight and feeling like a lady again. Being happy that ‘people hold doors’ for her is a small but great feeling, which I understand. She also changes her attitude to how she takes care of herself, including her own relationships, particularly with Jern, who hasn’t got it together yet by the time she has. They like each other but she knows she can’t look after him and herself and they’re grown up enough the know this.

Another aspect of the film that I admired were the friendships. Brittany and her ‘best friend’ Gretchen live together, party together but the latter doesn’t support the former. It can be appreciated they each have different goals in life and their own form of happiness, but this toxic friendship, rarely explored on screen beyond superficial arguments, is something Brittany decides to leave. Better for her and probably better for Gretchen too as she can realise what kind of friend she was. Leaving this toxic environment behind, Brittany is then free to cultivate her new and supportive friends who want nothing more than to help and be her friend, through all the ups and downs she goes through. It’s true that at your toughest times, you know who your real friends are.

I would say, aside from a few characters in TV shows where I felt represented on screen, this is the first time I’ve seen a character that feels like me. Some of the things that Brittany even says about being the ‘fat funny sidekick’ or how guys say things to her that they wouldn’t to other girls, I had a lot of that during college, Uni, work places where this happened, I was treated like one of the guys and not in a good way. I also had the same struggles she has with not being able to focus and just feeling less than. On personal level I can connect. I’ve also tried to turn my unhealthy life around a few times. I was on track about 5 years back where I even lost weight but I had a trampoline accident where I injured my back. I was misdiagnosed by a few doctors which meant my recovery was longer. I ended up in physio which helped but I will forever suffer with back problems. This really set me back, I put on weight again, I was stuck at the same old job, but very slowly I moved on. I swam every week and gradually stopped regular heavy drinking then I busted my knees, back to square one. I ended up in a hell cycle again last year when my contract ended with a job I really loved and to be honest have been having a terrible time all round, health, money, career wise BUT seeing this film, with a character I can really relate to was inspiring on more than ‘what a great film’ level.

The film was a hit at Sundance and was picked up by Amazon BUT the film will be in cinemas for a limited time (I heard) so please go see this, if not for the story then for the amazing Jillian Bell who plays Brittany, a real person and a real inspiration. 

 

BFI London Film Festival Picks 2019

 This has been an odd year in terms of festivals, overall, I think. My picks from the festival this year are very different from each other and there wasn't really a running theme that I found throughout the festival for me. But if I had to pick, religion and faith did come up quite a few times in film in different capcities.

I obviously have to mention the two 'big' films I was excited to see and they are again, of course part of my picks, Knives Out and Jojo Rabbit. But I have praised them enough in their own reviews/posts. Instead I wanted to focus on other films which may or may not be getting as much attention.

I'm usually quicker off the bat with my top picks but after breaking my record and watching 24 films, you'll excuse the delay. With still a few more reviews to be posted and at least 4 from Zavvi to be released too and one that is actually being posted in November by Vulturehound, this year has been all over the place. Anyway, these are my top picks:

Deerskin

An unexpected film by all accounts, this French dark as night comedy about a man so obsessed with his 100% deerskin jacket disappears into the countryside, pretends to be a filmmaker and plans on making his jacket the only one in the world.  Its bizarre and brilliant at the same time but will it get a release? Only time will tell. If there is cinema justice, it will.

Our Ladies

Another unexpected delight for me at the festival, about a group of friends who decend upon Edinnurgh one afternoon before a school choir competition. Its funny, irreverent and just an all round 90s set delight.

You Don't Nomi

Each year I manage to see one documentary and as this is a celebration as well as an exploration into the cult of 'Showgirls' of course I'd pick this one.

Arab Blues 

Beautifully understated dramady about a woman returning home to set up her practice as a Psychoanalysist but as her family doesn't believe in her or the need for her as well as the local police stepping in and adding to the disruption, she proves to herself and the doubters and even some of her clients that she is indeed needed and wanted. 
 
Review for this coming soon! 

First Love - BFI London Film Festival

When I first read this title, I immediately thought of The Maccabees song (same title) and the funny thing is, the song actually fits perfectly amongst the Yakuza, their henchmen, the crooked policeman and the of course the boxer who just happened to be walking past at the right time in the wrong place. The song doesn’t necessarily work word for word but it does have the same tone as Leo and Monica’s story. I won’t try and summarise the stories on the film as they cross over and over again so I’ll write brief intro.

Over the course of a day a crooked cop and Yakuza snitch plan to steal a drug shipment and set off war with the rival Chinese gang but nothing goes according to plan. Caught in the middle of all this is Leo, a dedicated boxer who has just found out devastating news, but his life changes the minutes he bumps into Monica, a drug addict who has been held captive by the Yakuza to settle her father’s debts. It’s one crazy night that isn’t without a blood bath or two.

The actual carnage of the night is brutal and bloody but isn’t without comedy. There are several scenes that take place that shouldn’t be amusing but you can’t help but laugh at the ridiculous events playing out, particular in part to Kase, the Yakuza henchman who is betraying his people. His plan seems air tight but anything that could go wrong, goes wrong, leaving him to kill quite a few people in the process, to his annoyance. Another overtly comedic recurring theme is the underestimation of Juri, girlfriend of murdered Yakuza member who was also helping keep Monica captive. She survives the most throughout the film from almost rape, murder, explosion and finally turns rabid dragging around an axe to kill the one she believes is responsible. Its very funny and painful at the same time, but the one thing to learn here is, NEVER underestimate a woman.

One of the best and worst meet queue for a romance is definitely between Leo and Monica. The former takes out the corrupt cop with one swift punch, all because the latter asked for help. This sets in motion a long night of survival. As Leo feels like he has nothing left to loose, plus only being told that he needs someone to fight for other than himself, is a massive hint to what is to come next. Leo’s and Monica’s romance isn’t sickly over the top but is subtle and sweet, their trust grows first and seeing as they are in a life or death situation, that is more valuable than over dramatic moments.

The weird and wonderful moments in ‘First Love’ are exactly what I’d expect from the director of ‘Blade of the Immortal’, Takashi Miike. An entertaining crazy fuelled story with a very sweet delicate centre.

Our Ladies - BFI London Film Festival

Based the novel 'The Sopranos' taking us back to the 90s, a group of friends are let loose on the streets of Edinburgh before a school choir competition, all with similar things in mind, booze, boys and having fun.

My full review can be read HERE on Zavvi.

Knives Out - BFI London Film Festival

Rian Johnson's eagerly awaited murder mystery does exactly what it says on the poster, its a 'whodunnit' set in modern America, complete with accented detective and family full of suspects.

Previously published on Vulturehound. HERE

Sometimes, there’s a film that acts like it’s a genre film. A film that delivers what you hoped for. A film that does exactly what it says on the poster. Sometimes you just really need a film that is what you expected and that film is ‘Knives Out’. The murder mystery, complete with an all-star cast that pays homage to all the ‘whodunnits’ that have come before and heavily influenced by Agatha Christie, this is another feather in Johnson’s genre catalogue hat and does not disappoint.

After a family gathering celebrating his 85th birthday, famous crime novelist, Harlan Thrombey is found dead under suspicious circumstances. With his whole family as well as his confidant and nurse, as possible suspects, local police officers are joined on the case by famed sleuth Benoit Blanc who was hired by anonymous client to solve the crime, just adding more mystery to Harlan’s death.

As a self-confessed enthusiast of Agatha Christie and all things connected to the murder mystery, Johnson’s script is almost a tribute to the traditions and elements that make up this genre. With the very bare minimum of obvious signposting such as whether a clue is useful or not, or whether a certain character’s absence is the key to the whole plot and the fact that Johnson has said he didn’t want to include red herrings means he is not only taking this very seriously but he is able to just have fun with the film and characters.

The family of suspects and the loyal friend and nurse as the outsider does seem like a very obvious set up for a story of this nature but as soon as you meet all the characters, with all their weird and wonderful quirks, it really doesn’t matter, you already feel like you’re part of the case and want to solve it. However, a major reveal does happen a little too early on in the film and could be construed as being a bit too predictable from there on. BUT if you’re watching the film to just play the game then you’re missing the point of the film. It’s not about the ending, its about the journey and soaking up every little detail, right down the insults the family throws at each other in overlapping arguments, its actually very funny. Giving each of the family members a personality, no matter how small a detail always helps. They are indeed stereotypes that we are all fully aware of and enjoy seeing squirm under questioning, another aspect of the film that Johnson has created on purpose. This is what other murder mysteries do, pad out the cast with stereotypical characters, all of whom have their own stories and possible motives. The added touch of an obvious divide between the family and Marta, the nurse, as each family member thinks she is from a different country was an amusing and accurate reference to modern Americans attitude. Standing aside from the family is Daniel Craig as Blanc is absolutely loving his role as the sleuth sent to solve the case. With an accent that stands out a mile from the rest of the cast and a laid-back attitude to a somewhat tragic incident, he commands the dramatic pauses he is given and really is a scene stealer in the film.

The story may seem slightly predictable but the characters and the ‘Cluedo’ like house, which is fantastically kitted out with amazingly designed rooms and trick windows and secret passages, it feels more like a character than a location. It’s a fun and at times very amusing fresh take on the usually period costumed genre films, Johnson set out to make a ‘whodunnit’ set in modern times and he has more than delivered here with ‘Knives Out’.

Earthquake Bird - BFI London Film Festival

Walking into a film without knowing anything about it can be exhilarating as well as nervous experience. The latter as you don’t want to feel like you wasted your time and the former as the story could be literally anything. Over the course of LFF I tried to just walk into as many film like this as possible. But unlike all the others, I ended up having to wait 90 minutes standing in a queue for ‘Earthquake Bird’, delayed due to technical issues in the screen so my experience of this film was already soured. Had I not had to wait all that time, my feet killing me, I think I would have felt differently as I don’t think that wait was worth it.

Lucy Fly has been living in Tokyo for 5 years having left her home country Sweden under mysterious circumstances. She is called in for questioning by police in connection with the disappearance of Lily Bridges, an American friend of hers. In flashbacks, Lucy begins a relationship with Teiji, an introverted and rather solemn photographer. She is also introduced to Lily by a friend who asks her to show her the city. They become tentative friends but when Lily meets Teiji, things start to unravel for Lucy.

 Set up as a thriller and with a sense of dread from the beginning as Lucy returns to work after a period of time, we aren’t aware for the reason why at the start, it’s obvious Lucy is hiding something. At first the story seems to be about where Lily is and what happened but the film ever so slowly changes into a character breakdown and the workings of an obsessive relationship between Lucy and Teiji. The former can’t stop thinking about him and doesn’t want to be without him, believing that he is the only person who understands and sees her. While the latter wants to take photographs of her all the time and at first never wants to leave his apartment with her. He likes to make her jealous by giving his attention to Lily and barely touches her in public, not even holding her hand. It goes from romantic to incredible creepy and frustrating all one moment, eventually morphing into a toxic atmosphere which makes him unfeeling and her paranoid.

This paranoia Lucy goes through isn’t helped by the later constant presence of Lily who is essentially an attention seeker, wanting what she shouldn’t have, controlling those around her. Appearing harmless and friendly, she subtly manages to get Lucy wrapped round her finger as she has does with previous ‘friends’. Lily is a threat but Lucy is made to feel as if she’s going crazy, especially as Teiji is next to useless in this matter. Ultimately, it’s difficult to connect with any of the characters and feel any sympathy for them which is a shame in Lucy’s case as she is guide to the story in the flashbacks and the present. The only time you can feel anything for Lucy is rage when it is finally revealed she has been betrayed. You can feel her pain blazing from the screen, this is mostly due to Alicia Vikander’s beyond brilliant performance. She impresses in this bilingual role, immersing herself into life in Japan, nearly blending into the background in her bland clothing. She doesn’t wish to be seen but is by Teiji, played by Naoki Kobayashi as the soulful artist and at the same time an intimidating presence.

A slightly supernatural element is woven into the story that also doubles as part of Lucy’s mysterious history, her belief that death follows her, with a few unfortunate examples in the film to prove this theory adds to the film’s slow burning thriller elements. Aside from brilliant performances from Vikander and Kobayashi, the story steadily takes a nosedive, especially the conclusion of the film which just feels rushed and not thought through giving it little impact. Despite this flaw, I find it odd that the film is going to Netflix and not making it to cinemas. As it is an adaptation of the award-winning novel of the same name by Susanna Jones, I thought there might be an audience already out there ready to go back to the story.

Make Up - BFI London Film Festival

Setting a thriller by the coast gives any film an automatic sense of mystery and dread all at the same time, especially if said film begins at night. The waves crashing against the rocks sets the tone and foreshadows conflict but just waves coming in and out of the shaw, with a rain heralding the arrival of something sets up an uneasy sense that something isn’t quite right, at least that’s how Claire Oakley’s debut starts.

Teenager Ruth travels to a Cornish holiday caravan park to be with her boyfriend Tom of 3 years. She eventually settles into life at the almost deserted park in its off season. She gets a job and even makes a new friend, wig maker Jade. But after finding possible evidence that Tom may have cheated on her, her paranoia turns to obsession, making her question her own self-worth and a new sexual awakening.

As a mystery and dive into possible insanity, the story and character work perfectly. Slowing dragging you into the troubled and rather bewildered world of Ruth’s. But the rather skewed shift into Ruth’s attraction towards the more confident but separate from it all Jade is unexpected and eventually feels forced, despite the one or two indicators that Ruth isn’t entirely comfortable with herself. As tries to follow possible clues as to whether Tom has cheated on her or not are fantastically shot, making each bizarre discovery feel like a piece of a bigger picture that, like Ruth, we haven’t fully grasped yet. Ruth and Jade’s friendship is built to feel like Jade knows more than she lets on but the quick switch to the film actually being about Ruth’s new sexual awakening is odd and out of place. But as soon as its established that THIS is what the film is really about the poetic imagery vanishes and feels empty. The mysterious edge the film began with washes away and leaves us with a few romantic moments but ultimately has so many questions left unanswered.

Despite the feeling of being left without a solved mystery, Claire Oakley’s debut feature does make you wonder what she has to offer next. Beautifully shot and hypnotic (to begin with) is feels like a promising beginning and excitement to see what she does next. 

You Don't Nomi - BFI London Film Festival

As a fan of the notoriously damned film 'Showgirls', watching a documentary that not only celebrates it but also goes deeper into why it failed at the box office and how it found a second life as a cult film was really what got me hooked. Its a film that not only loves 'Showgirls' but also an ode to film criticism.

My full review can be read HERE over at Zavvi.

Wounds - BFI London Film Festival

Director Babak Anvari delivers a festering hole of pain and mystery with a very confusing story that seems to try and cover too many horror tropes at the same time. At least its a pleasant casting surprise with Armie Hammer who feels as confused as we do watching it.

Previously published on Vulturehound. HERE

As the title suggests, there is the constant feeling that something unearthly and despicable is lurking beneath the surface of the film. From the sight of all the bugs appearing in all the cracks of the places the camera goes, the foreshadowing of impending doom is not far. The feeling of dread never leaves you or the screen from the very start to the final bizarre end as well as the continuous question that is never really answered, what is going on?

Slacker Will works at a dive bar by night and pretty much spends his days there too of not on his couch at home. After a violent a dramatic altercation happens on his shift, a mysterious phone is left behind. At first, thinking nothing of it, he accidentally takes it home where he starts to receive unnerving text messages. Strange happenings continue to occur, all with malevolent intent, targeting both Will and his girlfriend Carrie.

Whenever technology plays a key part in a horror story, there is always the danger that the tone of the film becomes a little flat. The story essentially revolves around the phone initially, when cryptic messages appear and then later intrusions and finally as portal of some sort to ensnare Will. But the bright screen and annoying clicking sound whenever someone types on it soon becomes repetitive and the other weird and disgusting clues that appear become more interesting. The jump scares are more effective with that screen popping up, as well as the hallucinations and eerie presence of another being in the empty room, it honestly sends chills down the spine. However, these cleverly placed cuts cannot make up for the fact that the storyline is biennial and the film has no idea what it actually wants to be. 

At first, the film appears as straight up techno horror with college kids messing around with the occult, then it veers off towards a haunting type story with possession, then there’s sharp turn into relationship drama which are probably the most unentertaining parts of the film, particularly as Dakota Johnson has zero presence in her role and makes little impact on screen. The plot is confusing and convoluted at the same and never decides what the story is really about which just makes you feel excluded from the story. Casting Armie Hammer in a slacker role however was unusual but as he is the most entertaining part of the film, its thankful that he is. As Will is just as confused and terrified at most points as much as the audience, there’s a kinship, until the end that it is, when the film just decides to take a running leap into the abyss.

Aptly titled ‘Wounds’, writer/director Babak Anvari conjures up a festering hole of mystery, pain and sour relationships. It’s hard to say where the film falters as the plot is all over the place but the film does achieve one thing, it’s terrifying in places, but then again, fear of the unknown usually is.

The Dude in Me - BFI London Film Festival

Whoever said body swap comedies are over? Giving the comedy sub-genre another breath of fresh air is 'The Dude Inside Me' when a uptight businessman and gangster switches with a timid and shy teenager after a bizarre accident. There are plenty of laughs as well as fights and even a heartfelt side plot.

Previously published on Vulturehound. HERE

What happens when you combine the dangers of business and being a gangster with the stressful bullying times of being a teenager at school? The result is ‘The Dude in Me’ a body swap comedy which actually manages to revitalise the somewhat tired out sub-genre that makes everyone roll their eyes during the trailer.

When highly successful businessman and tough as nails gangster Pan-su gets into an accident with bullied overweight teenager Dong-hyeon after eating at mysterious ramen café, he wakes up in hospital in the teenager’s body.

With swaps there is an opportunity to try something new and is usually a fun experiment in seeing how the other half lives. Unlike other films of this sub-genre, the two swapped characters aren’t active together for most of the film, leaving the gangster, Pan-su, in teenager Dong-hyeon’s body for the majority of the action. Both worlds do collide but the comedic value is ramped up with Dong-hyeon as the wimpish boy in Pan-su’s body, especially in a showdown at Pan-su’s old flame’s restaurant and his business rival along with his henchmen ready to fight not being aware of the body swap. By this point in the film, things have been complicated with other plot and characters reveals but the fights scenes are still very enjoyable, especially as only three people in the room know what’s actually going on.

Having K-pop star, Jin-young Jung in the main role was an excellent casting choice but the film makes the brave decision to have in a fat suit for half of the film. Playing an older, tougher, clever gangster type make him immediately intimidating when he swaggers back into school. It doesn’t matter how he looks; he confidently takes on his new environment and is able to physically beat Dong-hyeon’s bullies. There are plenty of fat jokes that are hurled the character’s way and when he finally sheds this extra layer, it’s done to help the character get into shape, get healthier and help a fellow student out with their own problems, instead of a beautification reveal only.

The story and characters, apart from Pan-su, may feel as if they are lacking a bit more substance, as the film does try to pack quite a few side stories in, but at the heart of it is fresh take on the sub-genre with thrilling fight scenes and comedic performances that make the film a fun story to watch. Who ever said that body swap comedies were a thing of the past?

Bad Education - BFI London Film Festival

 Based on the true story about a superintendent and his vice who stoles millions of dollars from the school district as well as hiding other things about himself. Its brilliantly played out and easy to get sucked into the story. 

Previously published on Vulturehound HERE.
 

Scandals never go the way you’d expect, which what makes them an excellent plot for a film, they can literally go anywhere and be anything. Corey Finley’s ‘Thoroughbreds’ had audiences sit up and notice his flawed and curious film but with ‘Bad Education’ is where he has found his rhythm. Based on the real scandal involving a superintendent stealing money from the school district over years and how it was uncovered by a student journalist for the school paper and by a stupid mistake that was found by luck.

The key to not suspecting someone is ripe for scandal is that they are someone everyone loves and admires, this is Frank Tassone, the superintendent that made his school district number four in the state. He is charming, fair and inspiring, basically everything you’d want in a person in that high ranking position. His vice superintendent, Pam Gluckin, is as charismatic as he is, except that she and to an extent, her family have been using the school district’s credit card for years and have essentially stolen hundreds of thousands of dollars. When the power duo are broken up, Tassone is the one to make sure no scandal takes place but not for the school’s reputation. The scandal is bigger than anyone could have thought and the disbelief that it could be worse is swept under the carpet.

The behaviour of those involved is comically brilliant. Hugh Jackman and Allison Janney are perfectly cast as at first friends, with more in common than they think, and later, separately battling with their past mistakes. The comedy is dark and to the point, making the few tender moments in the film grounded in reality. Once the whole truth is revealed, there is no escape for anyone who is even remotely involved, showing how no one gets away with misdeeds.

The fact that Tassone is the one who encourages the student journalist to write a story rather than making her writing a puff piece is perfect irony. She follows the story and decides to reveal far more than she could have for seen. Tassone’s encouraging nature and desire to make his district great feels genuine if it wasn’t for the millions he had stolen or the lies he told. Instead of this being a scandal slowly unfolding, its really just a realisation that even if someone seems like the nicest person in the world, they are probably hiding a secret that outweighs the kindness. A brilliant observed story based on a true story that is refreshingly darkly funny as well as excellently performed.

On a Magical Night - BFI London Film Festival

A very French film about love, marriage and the past. A serial adulterer goes through all her past lovers including her husband's younger self, trying to figure out what she should do about her present husband. Sounds silly and it is but its also enjoyable.

Previous published on Vulturehound HERE.

Wouldn’t it be a marvellous thing to happen if all your ex-lovers were in one room at once, as well as the younger version of your husband and his first love as he remembers her? Partly rhetorical and partly easy to answer, at least for Maria, the protagonist of ‘On a Magical Night’ it is.

University professor Maria, after her infidelity is uncovered by her husband Richard, goes to stay at the hotel opposite their flat where she is visited by her ex-lovers, a younger Richard and Richard’s first love Irène, his piano teacher. Throughout the night, they discuss her choices, her past and her relationships until the cold light of day brings forces her to make a decision.

There is a certain stereotypical attitude in French films that adultery is taken as a given in a marriage if one half of the couple claims to be very sexual and needs to be free to do what she wants. Its seen as a light hearted, inconsequential issue but for Maria’s husband of over 20 years, Richard reacts differently, it seen as more of an overreaction by Maria and is even surprised that he cares so much about this soul-destroying betrayal. Cheating on the person you claim to love and not want to leave then acting as if it was nothing is cruel. Maria is portrayed as a cold person, showing little to no emotion when Richard confronts her or even when she is forced to face up to her past, with all the men in the room, she has nowhere to hide. She at first justifies her actions and then when pressed further, the real question about her and what the film is really about is placed out in the open; whether she is still in love with her husband as much as she loved him when he was younger. As soon as the young Richard appears in her room, she is immediately drawn to him but as the night goes on, his first love, Irene, an older woman, his piano teacher joins them in the hotel room, shifting the story to include Richard across the street which adds to the crazy ‘magical’ night where past and present collide.

The question about love and whether to move on or live with the past or to try and make the present work is explored as well as wondering what would have been if choices had been different but all these smaller subplots edges further away from the main question posed about Maria and Richard. While one prefers young men and is a serial adulterer, the other has been faithful but will always have an emotional connection to the one great love. This would have been more interesting to explore and maybe more scenes with just Maria and Richard (present day) would have given more insight into their relationship with each other rather than what they think separately. With a few laughs and continued heartache, at least from Richard’s side, this magical night has to end sometime, a little further clarity by the morning would have been useful.

Deerskin - BFI London Film Festival

 Jean Dujardin is Georges. He is obessesed with his deerskin jacket. What if his jacket was the only one in the world? Armed with a video camera, a plastic poncho and a ceiling fan blade, he can make that dream come true.

This is, so far, my favourite film (apart from Jojo Rabbit - review soon) of the festival this year.

Previously published on Vulturehound HERE.

The saying that sometimes the things we own, own us couldn’t be more perfect in this aptly described oddity where one and his jacket decide to take their plan global, no matter the cost, financially or how high the body count goes. Clothing that poses you isn’t quite as unusual as it sounds in cinematic terms but a story about one man and his fetish for deerskin and devotion to his jacket is something else entirely. 

Recently separated 44-year-old Georges spends his last remaining cash on a 100% deerskin jacket and heads into the countryside. Posing as a filmmaker he involves local bartender Denise to help make a film of his and his jacket’s exploits, including murdering anyone who doesn’t surrender their jacket.

It’s difficult to determine whether Georges is being possessed by the jacket or whether he is just losing his mind every time he takes someone else’s’ jacket and shoves it in the boot of his car. He soon convinces himself he is a filmmaker and starts to believe his own lies about why he has no money. Georges believes what he says or rather what his jacket tells him so much that you start to agree with what he’s saying, that is, until the murder spree happens. Jean Dujardin is eerily perfect for the role of Georges, bringing sad charisma and matter of fact-ness to the dark comedic tone of the film. His slow by steady decent into murderous territory is both ridiculous and terrifying, especially as he requires more 100% clothing to add to his ‘killer style’ as he calls it.

Shifting from collaborator to enabler, Denise seems to be taken in by Georges’ paper-thin story as she herself is creative and eager for any opportunity that comes her way. She neither questions how or why Georges is doing what he is doing, even asking for more bloody shots so she has something to work with. Her drive, seemingly more creative than his, is to get the film finished and remains in the dark about the other purpose for the events of the past few days. Denise is there is feed Georges and the jacket’s ego at the same time, giving herself a purpose, which becomes clearer towards the sudden climax.

The wonderfully absurdity of the entire plot is to be admired and not questioned too much, just like Georges’ film he is making. Once you ask too many questions, the whole story unravels. A dark comedy about a man and his jacket who go around killing people, for their jackets, is curious to say the least, but what’s better is that it’s just strange brilliance.

Controversy Becomes Her

 The first version of this review appeared on Vulturehound and can be read HERE. 

Controversial seems to be Catherine Breillat’s middle name especially when talking about her filmography as well as her written work. Unfortunately, ‘Romance’ is mainly known for being one of the films that features unsimulated sex but this bleak, unglamorous look into an unhappy woman’s love and sex life is more than the controversy that follows it.

Marie’s boyfriend Paul refuses to have sex with her, leaving her unsatisfied and sexually frustrated. She decides to explore her desire through various encounters with men, even engaging in a sadomasochistic relationship, but every night she returns to Paul, desperately in love with him.

Marie is not happy. In fact, in one of her first scenes, she is crying, because of Paul, a cold stone-faced man who really doesn’t give a damn about her. Marie is the seen as the epitomy of frustration and despair. Even the moments of ecstasy she craves so much are filled with as a sadness that feels like she can never overcome. We feel her ongoing frustration while being in love with a man who shows no affection, sexual or otherwise and wanting to fulfil her sexual appetitive which takes her to some dark places. All her pain is stemmed from Paul and he feels like the villain of the story but Marie isn’t entirely blameless. She obviously doesn’t deserve the treatment she receives from the men she meets (including Paul) but she also seems to enjoy the pain. Left to her own devices she actively seeks out the pain she receives. It isn’t until the end where she realises her worth and takes drastic revenge.

Breillat’s films always highlight and discuss female pleasure through social and sexual conflicts. The character, Marie seems deny herself any sort of pleasure by staying with Paul. Even when she has affairs, she keeps to strict rules for herself dare she adventure any closer to her ultimate goal of pleasure. Always dressed in white apart from the red dress near the end, she both unattainable and easily seduced all at the same time, conveying various emotions with one expression and tearful outbreak. Breillat exacts this character from Caroline Ducey as if she is slowly and painful performing surgery and that is someone to admire.

If you’re looking for an overlooked gem full of insight and long deep and meaningful conversations about the past, present and the future then you will be disappointed. ‘Romance’ is not the film for you, especially if you’re suffering from issues same as in the film. However, if you have been craving that streak of delicious and unaccountable behaviour that heroines sometimes lack, prepare to me be dismayed and entertained. 

Maggie - BFI London Film Festival

The preconception with comedies is that you expect to laugh and while there is plenty of amusing moments throughout ‘Maggie’ the majority of the time, at least past the initial plot point, confusion sets in as to what is actually going on and it becomes more difficult to just accept what is happening. From sex in the X-ray room to catfish predicting earthquakes to sink holes and breakups, this comedy really does cover a lot of weird and not always wonderful moments.

After believing that she and her boyfriend are the ones caught in the X-Ray room, Yeo, a nurse at a private hospital goes through a series of odd events. From helping a doctor to try and trust people again after everyone calls in sick to work, to her lazy boyfriend who finally getting a job filling the sink holes appearing around the city and with her relationship itself after his ex gives her some quite disturbing information. This is all narrated by the Maggie of the title, a catfish that sits in the hospital.

The story and characters literally go all over the place in the film making difficult to follow or even care what is happening to the characters. The bizarre nature is numerous to a point but the film starts down a more serious tone that feels out of place and problematic. Yeo and Sung-won morph into being the central characters taking over from the possibly more fascinating hospital and its patients. The decent into more serious relationship drama makes the film loose whatever random momentum it had at the start.

To say ‘Maggie’ is whimsical is an understatement, at least by typical comedic standards. But the most interesting angle played out is in the narrator, Maggie herself, as she is unreliable. She isn’t actually present for 90% of the film’s action but seems to know a hell of a lot more than a catfish should. As Maggie herself predicts a few earthquakes and the sink holes that keep happening, she may in fact be more than your average catfish.

A flawed but amusing at times comedy that tries to cover far more than it really needs to. One thing I’d like to know, is what the hell was that hospital advert with gorillas about?!

The Lodge - BFI London Film Festival

When a thriller turns to horror by way of religion and fear mongering, it can lose its way, which, in a near singular location with a handful of actors could work but alas, The Lodge falls short.

Previously published on Vulturehound HERE.

Religion is often used as a tool in horror films. Not quite a cult like experience but the fear is that someone believes in something so strongly they would do unforgivable things in the name of religion. Usually its Christians who get the beating and its no different with ‘The Lodge’. But instead of targeting someone who is devout, its the character’s own fear and resentment of religion that plagues them. Aside from religion, its the children who we should really fear.

Brother and sister, Aidan and Mia are forced to spend the Christmas break with their father and new girlfriend, Grace, in their lodge in the countryside. With the memory of their mother still fresh in their minds, they are less than welcoming. When their father leaves the three of them alone, strange happenings take place, questioning who is loosing their minds, Grace or the siblings.

With a similar set up to their previous film ‘Goodnight Mommy’, Veronika Frank and Severin Fiala have minimal characters and singular location to amp up the unsettling factor that run through the film like a poison. Riley Keough as Grace, is the focus throughout. From her reactions to the religious painting and ornaments and brief conversion, we gather that Grace grew up in a strict religious house and may or may not be scarred by the experience. Her mysterious pills she takes are never given a reason as to why she takes them and the kids claim she wonders through the house at night. But both Grace and the kids are unreliable, for most of the film, its a guessing game as who is telling the truth or if what they’re all experiencing is real. A sharp turn to reality near the end of the film answers this burning an agonising question but instead of further mystery, we are left with consequences of characters actions. It becomes less intriguing and more of the same except with no mystery.

‘The Lodge’ begins well with little dialogue and only a few gestures and glances to give a clue as what to expect next. But looses its way soon after the three are left alone. The eerily located lodge and its desert of snow, makes up for the lack of interesting events, but a location can only compensate for familiar tropes of this type of film. A lesson is learnt however, you can never know someone completely so you don’t know they will react to what may seem like a harmless joke but in fact it is the smallest thing that can break them or make them defend into madness. With potential at the start, its a shame the film doesn’t hold up what it promises.