drama

REVIEW: Capernaum (2018)

While serving a five-year sentence for a violent crime, twelve-year-old Zain (Zain Al Rafeea) decides to sue his parents for the neglect and the life they’ve given him.

Capernaum begins with Zain being led to court in handcuffs to sue his parents and then the story goes back so you can see how he ended up in this situation. To say that Zain’s life is a tough one would be an understatement but it’s how the film shows how so many people in his life struggle. While his parents are certainly at fault in the way they treat him and his siblings, it’s through the quieter moments that you can see that they are second guessing themselves and are making terrible choices as none of the options available to them are good ones. Zain is such a resourceful and strong boy, who has a great sense of empathy in spite of, or because of, the world he’s grown up in that doesn’t see value in children. He’s someone who tries to do the right thing by those he cares about, even if it might mean doing some light thievery to achieve his goal.

When Zain runs away from his parents, he meets undocumented worker Rahil (Yordanos Shiferaw) and her baby son Yonas (Boluwatife Treasure Bankole). She takes him in and the three of them form a new kind of family. The whole cast is brilliant, but this trio were phenomenal. Al Rafeea is an incredible young performer and the way that director Nadine Labaki captures the dynamics between the children in this cast brings out some wonderful performances. There’re moments between Zain and Yonas that can’t have been perfectly scripted due to one of them being one years old, but they feel so sweet, intuitive and natural. The scenes with Zain and Yonas are so natural and are both sweet and heart-breaking at times.

It could’ve been so easy for Capernaum to just be sad and bleak but thanks to an organic screenplay and true to life oddities, there’s laughter to be found here. It also shows that while life and so many of the people in it can be terrible, there are kind people who want to help others with no ulterior motives as well. The way Capernaum is shot neither romanticises nor demonises the poverty Zain and the people he meets face. It’s an honest look at what’s life like for some people and, with its script that has so much natural dialogue, it makes Capernaum feel like you’re a spectator to Zain’s life for a while.

Capernaum is sad but it’s also funny and thoughtful. With a great cast led by Zain Al Rafeea, it’s a film about family, compassion and survival. It’s a film that’s often like a punch to the gut but it’s one that leaves a lasting impression. 5/5.

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REVIEW: Every Day (2018)

Teenager Rhiannon (Angourie Rice) falls in love with “A” someone who wakes up in a different body each day and must live that person’s life for a day, not causing any lasting problems before they go to sleep and wake up in another person’s body.

Based on the contemporary YA novel of the same name by David Levithan, Every Day is a surprisingly sweet, thoughtful and touching film. The supernatural or fantasy nature of “A” is explained well, and through inhabiting numerous characters (and the young actors performances) you get to see what their personality is like as they slowly get Rhiannon to believe what happens them each day.

The young cast are all great, but Angourite Rice is just wonderful as Rhiannon. Rhiannon has the typical teenage boyfriend drama, but as she grows closer to “A” she becomes a more confident person that has always been open and kind. Rice’s presence lights up the screen, bringing the laughs with the comedic moments but also can put across the pain of loving someone who she doesn’t know if she’ll see them again.

The soundtrack is great and everything about this film is so soft. Both in terms of the story and the way the film is shot with soft lighting and idyllic settings, whether it’s a lake house or a beach, makes it seem like Every Day takes place at the beginning of summer and “A”’s and Rhiannon’s romance will never end.

Every Day tackles ideas of sexuality and love in a broad way but it’s a way that’s accessible to it’s target audience without being preachy. It also features discussions of mental health which is handled well, however there’s so much more this story could have done with race and class as “A” spends time in these different people’s bodies and lives.

Every Day is a sweet film that’s about loving a person for who they are, not what they appear like, and its young cast does a fine job showing the different kinds of relationships you can have while in high school. 4/5.

REVIEW: Can You Ever Forgive Me? (2018)

When author Lee Israel (Melissa McCarthy) falls on hard times as her books aren’t selling, she turns to forging letters from famous dead authors, poets and playwrights in order to make a living.

Can You Ever Forgive Me? is a witty and entertaining heist film that has a lot more going on than one might think. While it’s certainly a small-scale heist film, behind the crime Lee is committing, is a story of loneliness. Lee is grouchy and often nasty, and she much prefers to spend time with her cat than with people. Her reclusive and curt nature doesn’t make her popular with her agent (a brilliantly scathing Jane Curtin) nor make her well-known enough to have people want to buy her books.

Melissa McCarthy gives a great performance in a more serious role. Her sensitive take on Lee’s hostilities makes her more than an unlikeable cat lady, instead being someone who has layers and is afraid of getting hurt. Richard E. Grant almost steals the show though as street smart charmer Jack Hock. He helps Lee fence her forgeries and his friendship comes along when she needs it the most. Their chemistry is wonderful as both Jack and Lee were gay, they appear to have a unique understanding of one another. In many ways they are complete opposites but for the most part they work together, their interactions are certainly very funny.

Can You Ever Forgive Me? is a darkly witty little crime film. The script and direction make you like an unlikable character from almost the very beginning and the performances are brilliant. 4/5.

REVIEW: Stan & Ollie (2018)

Stan Laurel (Steve Coogan) and Oliver Hardy (John C. Reilly) attempt to reignite their film career as they embark on a gruelling theatre tour of post-war Britain.

Stan & Ollie opens with a four or five-minute-long tracking shot of Laurel and Hardy as they make their way through a film studio, passing cowboys, Roman soldiers and crew members, as they discuss their marital situations and their next move career-wise. This was a great way to introduce these two men and show off how films were made, and the stars were controlled in the Classical Hollywood era.

Soon after that though it’s 1957 and Laurel and Hardy aren’t as young or as famous as they used to be. Coogan and Reilly both do a great job in their roles. They’re clearly having a lot of fun with the slapstick sketches, which are fun to watch too, but they both are well-suited to the more dramatic and emotional moments too. There’s a lot of history between the Laurel and Hardy we follow here, but there’s a deep friendship too. Great performances and cracking chemistry make them a compelling duo.

The supporting cast are great too and the whole film is almost stolen by Nina Arianda and Shirley Henderson, playing Ida and Lucille, Laurel and Hardy’s wives respectively. The majority of the laughs come from these two. Their interactions with each other are often scathing and witty, while their interactions with their husbands are equal parts caring and amusing.

Stan & Ollie is lovely and charming. As someone who knew little to nothing about Laurel and Hardy before seeing this film, I found it accessible, engaging and fun. It’s not exactly ground-breaking in terms of what a biopic can be, but the performances make this film more than worth the price of admission. 4/5.

REVIEW: Disobedience (2017)

When Ronit (Rachel Weisz) learns her father, an Orthodox Jewish rabbi, has died she returns home to a hostile environment from the tightknit community. While she’s home her feelings for her childhood best friend Esti (Rachel McAdams) are rekindled, but Esti is now married to Ronit’s cousin Dovid (Alessandro Nivola).

Disobedience is a love story about two women and how their community and and sense of duty has kept them a part for years. From the moment Ronit arrives back in her old neighbourhood, it’s clear that she is seen as an outsider. With her tendency to speak her mind and refusal to conform to the typical path for an Orthodox Jewish woman, she doesn’t fit in with her family or their friends and neighbours.

Esti has followed that more traditional path and while she might be content in her marriage and wifely duties, it doesn’t give her the same feelings she had when she was younger and with Ronit. Weisz and McAdams’s scenes are electric. Ronit and Esti’s silent, lingering glances are just as affecting as when they do kiss or have sex. They are two characters that are lost in different ways; Ronit has been cut adrift from her community for so long, while Esti has almost been smothered by it.

Dovid could quite easily have been the big bad guy, standing in the way of Esti and Ronit’s feelings for one another. He’s Esti’s husband and they do have a seemingly good relationship, but it’s clear that it’s nothing like what her relationship with Ronit could be. Thanks to a thoughtful script and Nivola’s performance, Dovid is a layered character that is kind and caring, and he himself struggles with the outside pressures that are put on him and his relationship by the community he is a part of.

Disobedience is a beautiful film that allows the characters room to breathe, making their relationships and conflicts so much more richer than one might expect going into this film. It’s a film that’s about love and choices and being brave enough to do what’s right for yourself. Disobedience is a film that lingers in your mind long after you’ve seen it. 4/5.

REVIEW: Beyond (2014)

Cole (Richard J. Danum) and Maya (Gillian MacGregor) struggle to keep their relationship going as they try to survive in a world where the human population has been decimated by an alien attack.

When Cole and Maya meet there’s news of an asteroid that’s heading towards Earth. People start to decide what to do with what could be their last few months or years alive as Cole and Maya fall in love.

Beyond has two stories running through it. There’s how Cole and Maya met, fell in love and how their relationship develops, and then there’s them in the present, alone in the wilderness, running from spaceships and trying to stay alive. Beyond is a film that’s made up of flashbacks and flashforwards, which makes it a choppy mess a lot of the time. Because it doesn’t spend that long in either time, you don’t get to know Cole and Maya that well, both as a couple and individually.

Cole and Maya spend more time arguing once they’re together than anything else, making you wonder how they are staying together. It seems like the apparent end of the world is the only thing that keeps them together.

The Scottish landscapes that Cole and Maya travel across are striking, and the way the present, dystopian part of the film is shot is beautiful in an eerie way. The music is suitably haunting too and all those elements make a bleak situation, however the story nor the character are never compelling enough to make this sci-fi drama/mystery enjoyable.

Really the sci-fi set up, an asteroid heading for Earth that could turn out to be an alien lifeform, is a backdrop for Cole and Maya’s relationship. The film never utilises its sci-fi roots to its full effect, nor gives you characters and a relationship you will to succeed.

Beyond is an intriguing low-budget British sci-fi film but it doesn’t quiet deliver what it promises. 2/5.

REVIEW: Support the Girls (2018)

Lisa (Regina Hall) is the general manager at a Texas highway-side sports bar and grill where the waitresses wear short shorts and crop tops. Lisa’s endless optimism and her faith in her girls, her customers and herself is tested over the course of one long, strange day.

Support the Girls is a very funny workplace dramatic-comedy. The majority of the film is set in the bar as Lisa puts new waitresses through their paces with Maci, one of the current waitresses, (Haley Lu Richardson) giving them lots of advice. Danyelle (Shayna McHayle) is another old-hand at the job and her dry wit balances out Maci’s bubbliness perfectly. Maci could quiet easily be an annoying character with her enthusiasm and optimism, but Richardson’s performance makes her endearing.

For a 90-minute film it does such a great job of fleshing out these characters, both Lisa, her co-worker’s, and their customers. There’s so many little moments or throwaway lines where you get a glimpse of these people’s lives. There are a few sub-plots that slowly grow over the course of the film, and others that are only hinted at, making Support the Girls truly feel like a slice-of-life kind of film. Really, the script is brilliant with so many conversations sounding so realistic, it’s hard to believe it’s not improvised.

Regina Hall is brilliant as Lisa, she’s funny, caring, but she’s also trying to keep her own life in control as well. Lisa’s relationship with her staff is almost like a mother-figure, she helps them sort out childcare, gives relationship advice, and is generally always there for them to talk to. Pretty much everything that can go wrong, does go wrong for Lisa, but it’s how she keeps moving forward that makes her such a compelling character.

Support the Girls is funny, sweet and heart-warming. It’s about the friendship and camaraderie between women and, to a lesser extent, anyone who works in hospitality. It’s a feel-good film and the central performances and chemistry between Hall, Richardson and McHayle are wonderful to watch. 4/5.