The intertwined stories of four generations of the Cooper family as they come together for their annual gathering on Christmas Eve.
Christmas with the Coopers is one of those perfectly fine Christmas films. As with many films set around the holidays where a large, extended family get together, there’s arguments, secrets and misunderstandings.
There’s a lot of plot threads about the different characters, potentially a few too many but on the whole, it works and that’s due to the cast all giving good performances. My favourite plot was Eleanor (Olivia Wilde) finding a fake boyfriend at the airport so she doesn’t have to go home single. Her relationship with Joe is lovely as she slowly starts to open up to him, and they end up being a couple you root for. The friendship between Ruby (Amanda Seyfried) and Bucky (Alan Arkin) is sweet and does a good job at not veering into being uncomfortable.
I have to mention the ages of the various actors and how as a fictional family, they make no sense. I’m not usually that fussed about actors ages, but in Christmas with the Coopers I did find it difficult to realise who was related to who and how because some people looked too similar our different in age. For instance, Diane Keaton and Marisa Tomei are supposed to be sisters with not much more than a five-year age difference. When Tomei’s character was mentioning a sister, I could not figure out which character out of the rest of the cast she could mean until the very end of the film.
Christmas with the Coopers is sweet, funny and it’s an easy watch kind of Christmas film that’s all about the highs and lows of a big family. 3/5.
Sasha (Leighton Meester) and Paige (Gilliam Jacobs) are best friends who are just a little co-dependent. Their relationship is tested when Paige meets Tim (Adam Brody) and has a serious boyfriend for the first time.
Life Partners is a great take on female friendship and the ups and downs of a friendship as you go through different life events. While the same age, Sasha and Paige are at different stages of their lives. When Paige meets Tim and starts to think about settling down, Sasha is still going out and dating girls who are younger than her and, more often than not, still live with their parents. And it’s not even their relationships that are different, it’s the career paths – Paige is a lawyer while Sasha has been a receptionist for years, so she can focus on her music. These are two very real and relatable women and their friendship is relatable too.
Both Sasha and Paige have their flaws and seeing them begin to recognise them and try to change or apologise, was lovely to see. The script is funny and heartfelt and allows these two female characters to be layered and their friendship is never stereotypical.
Meester and Jacobs have great chemistry, as do Jacobs and Brody, meaning that when Tim comes into the picture, you root for him because he makes Paige happy but can see how insecure he’s making Sasha at the same time. Life Partners has a great balance of romance, humour and drama that makes it feel very true to life.
Life Partners is a character-driven film about two young women and the pitfalls and confusion they encounter when trying to be adults. Their friendship is at the heart of this film and thanks to a great script and cast it’s a friendship and a story that just works. 5/5.
Marnie (Susan Sarandon) doesn’t know what to do with herself after her husband dies so she moves closer to her daughter Lori (Rose Byrne) and soon befriends Lori’s friends and tries to fully intergrate herself into Lori’s life.
The Meddler is about grief. It’s been over a year since her husband died but Marnie misses him terribly and suddenly has way more money than she knows what to do with thanks to his life insurance payout. She becomes overly generous because of that, paying for her daughter’s friend Jillian’s (Cecily Strong) wedding and buying expensive gifts for just about anyone she meets. She even befriends Apple store worker Freddy (Jerrod Carmichael), convincing him to take night classes and then even driving him to and from them.
The problem with Marnie is I did not like her. I understand why she is being so interfering and clingy as it’s because she’s still grieving and is focussing on everyone around her instead of thinking about her dead husband but that still didn’t stop me from wanting to throttle her. While Lori obviously still loves her mother, even though she annoys her a lot of the time, as a viewer I had no fond feelings for her at all.
The Meddler is heartfelt and sometimes funny too. The performances are all great and Sarandon is a standout but that wasn’t enough to get me to look past how much I disliked Marnie. Unfortunately my dislike of Marnie had a knock on affect and made me dislike the film itself. 2/5.
After her mother (Ellen Burstyn) discovers a story she wrote when she was thirteen, Jennifer (Laura Dern) tries to re-examine her first sexual relationship, the people involved and what truly happened that summer.
The Tale is based on writer and director Jennifer Fox’s own experiences and based on the story she wrote as the teenager. This makes this story all the more compelling and heartbreaking as it’s a sexual abuse survivor, telling her story in her own words as she tries to come to terms with what happened to her.
This is not just a story about abuse, but a story about memory. Jennifer can remember her riding teacher Mrs. G (Elizabeth Debicki) and her coach Bill (Jason Ritter) so vividly but has difficulty picturing herself in those memories and remembering how she felt and what she knew. As she reconnects with people who spent the summer with her at the riding school, Jennifer begins to realise that some of her memories don’t match up with other people’s recollections.
The Tale is told with two narratives running parallel to one another; Jennifer as an adult, suddenly having to confront her past, and Jenny as a child (Isabelle Nélisse) living the experiences Jennifer is now recalling. Both Nélisse and Dern give powerful performances. Nélisse is brilliant as she slowly becomes less naïve about the world but still believing that what she’s experiencing is a relationship and that Mrs. G and Bill really love her. Dern is phenomenal as she perfectly captures the anguish as she revisits her past and now she’s older she can start to put into context what she experienced. The scenes where young and present-day Jennifer are in the same space helps show the haziness of memory as between the two of these points of view they try to find the truth of what happened.
The Tale handles the sensitive subject matter with grace and care. It’s a tough film to watch as it doesn’t shy away from the uncomfortable and sexual content. However, it’s powerful to see an independent and strong-willed woman reassess the trauma she experienced and decide what to do with that information. 5/5.
When a teenage girl and her family’s servant are found dead, the police investigation is incompetent from the outset, contaminating evidence and accusing a controversial suspect. When experienced investigator Ashwin Kumar (Irrfan Khan) joins the case, he must make sense of the little evidence available and several conflicting theories about what really happened.
Talvar is a fictionalised and dramatized version of the 2008 Noida double murder case, a case I personally hadn’t heard of before but one that got the media into a frenzy and all people connected to the case were put on trial by the media before the police or courts could do much else.
You see the night of the murders retold multiple times from different perspectives. Each one using various witness testimonies but also disregarding some other piece of evidence that doesn’t fit the prevailing theory. As the scenes are so different each time, it never feels like you’re retracing old ground, and each flashback serves a purpose.
There’s no getting around the fact that the police originally at the crime scene, did a terrible job, not calling in forensic teams and letting family member, neighbours and journalists walk into the crime scenes with no bother. It’s quite incredible how bad these men were at their jobs. From then on, the film does a good job at presenting all the evidence and suspects in a largely unbiased way, leaving you to decide who you believe.
With so many members of the police force being either unlikable on incompetent (or both) Ashwin is a beacon of sanity in this circus that is an investigation. He’s smart and sympathetic and you can feel his exasperation with this almost impossible case and the bureaucracy surrounding it.
Talvar is a gripping mystery albeit it a frustrating one due to the inept police work that could lead to such a heart-breaking and horrible situation for this family who has lost their daughter. 4/5.
A documentary following a group of teenage girls for three years, from their last year in high school to their first few years in college, looking at the relationships they make along the way and how they and their lives change in that time.
All This Panic is a great because it doesn’t judge any of the girls it follows, instead it shows all their different sides, the times things go well for them as well as arguments they may have with parents or their friends. It allows you to form your own opinion on each girl while still understanding that they are all growing and learning all the time.
Out of the group of friends one decided not to go to college, so it was interesting to see how her life differed to her friends and how they tried to stay in touch and if they could remain as great friends as they were in school. I think it’s good to see how relationships can change and to allow that to happen, and just because they weren’t together every day anymore, it didn’t mean their friendship was over.
The girls all talked about boys, and girls, they fancy, what they thought about relationships and how when they’re seventeen you can’t win as if you haven’t had sex it’s seen as weird, but if you have then you shouldn’t have. All This Panic paints a very honest picture of what teen girls go through and to paraphrase what Sage says, “People want to see teen girls, but don’t want to hear them.”
All This Panic is a short film, but it packs a lot in. It’s entertaining and affecting as it’s easy to see yourself in these girls and you want them all to find their way and be comfortable in their own skin. 4/5.
The true story of the 1973 tennis match between World Number One Billie Jean King (Emma Stone) and ex-champ Bobby Riggs (Steve Carell).
What’s really interesting about Battle of the Sexes is that it’s main focus isn’t just the tennis match between Billie Jean King and Bobby Riggs but how society was in the 1970’s in relation to the women’s movement and how King and Gladys Heldman (Sarah Silverman) set up their own women’s tennis tournament. This allows you to really see where King was coming from, what obstacles she and other female tennis players were facing, and how hard she fought for respect from her male peers. This helps you realise how difficult a decision it was for King to take up Riggs on his offer, as the weight of people’s expectations were on her shoulders. This build up to the big match also gives time to Riggs side of the story, showing his more human-side and how he may not believe all the chauvinist stuff he says but rather says it for a reaction.
Everyone gives compelling performances in Battle of the Sexes. Emma Stone does a great job in portraying the inner conflict in King as she finds herself attracted to hairdresser Marilyn Barnett (Andrea Riseborough) while still caring for her husband Larry (Austin Stowell). Carell is hilarious as Riggs, but you also get to see his vulnerabilities that comes with being a gambling addict.
Battle of the Sexes has snappy dialogue, compelling characters and is a lot of fun. It balances the drama with the comedy and when you finally see the match between King and Riggs, it’s a thrilling showdown between two larger than life people.
Battle of the Sexes is a great film with an important message and themes and it’s so unfortunate that those themes of equal rights and opportunities between the sexes is still so prevalent over 40 years later. 4/5.