Une part de bonheur

We are only human, and the gods have fashioned us for love. That is our great glory, and our great tragedy.

[anticipatingevaporation]

Barbie

“Humans only have one ending, ideas live forever”

I talk about movies a lot. I watch and listen to movie reviews just as much. I am very much in ~the conversation~ when it comes to movies and TV shows. So much so that I find I tend to over intellectualise these media forms. I look at them as products to be dissected rather than art.

When I think about my favourite movies of all time, I don’t love them because of their artistic merit (although that is definitely a factor). I love them because of the way they make me feel. That yearning to stay in the world created, to make the movie last just a little longer. The ever present desire to watch it all again the second the credits start rolling.

Barbie is by no means a perfect movie. But it made me feel that way again.

Greta Gerwig is a filmmaker I have been familiar with for some time now. My quest to watch all Oscar nominated movies every year means I have seen all three of her directorial works. Each one has inched closer to my tastes, culminating in Barbie, a personal home run.

I particularly love Gerwig’s sensibility as a filmmaker, the tone she strikes is unabashedly feminine. There is a certain softness to her approach that feels like a warm hug I am growing to love.

Barbie is no different. This truly feels like a movie made for ~the Girls~ and I love it. I love that this movie is not shy about its femininity. It doesn’t masquerade it and it is not ashamed to be a girl movie. In a landscape that is so dominated by the opposite, it is more than refreshing to find something so female that is also, so good.

For starters, the screenplay here is beyond brilliant. It is in equal parts smart and funny. You can tell Greta and her writing partner Noah Baumbach have a true understanding of and appreciation for the world and lore of Barbie. There are some deep cuts here, including characters such as Alan and Midge, as well as outfits and set design that are true to the spirit of Barbie, from the first iconic swimsuit to modern day.

I love that there are “multiples” of Barbie and Ken, all named Barbie and Ken. The fact that there are no stars in Barbieland: the Barbies just float from floor to floor? Genius.

It’s these little touches that demonstrate how much care has been put into this movie. Don’t get me started on the production and set design, it is among the greatest I have ever seen.

Something I think and talk about a lot is the current state of TV and Film. It is not controversial to say the landscape has been overtaken by IP driven content. Whether this is a necessary safeguard to avoid financial disappointment or viewers are truly hungry for original content is another discussion, but the point here is it is almost unheard of to craft a truly original movie or TV show nowadays. Everything must be derived from something else, and everything is often, awful.

It would have been so easy to make a by the numbers Barbie movie, something serviceable and somewhat entertaining but forgettable. Producer Margot Robbie and Director Greta Gerwig go a decidedly different route. This movie is manages to be both an entertaining blockbuster and a nuanced discussion of feminism today. When you think about it, the Barbie doll perfectly lends to conversations like these, and Gerwig more than pulls it off.

When it comes to performances and characters in this movie, there is a clear stand out. And that is Ryan Gosling’s Ken. This performance is beyond brilliant, I would wager the best in Gosling’s career. He perfectly understands the tone this movie is striking and gives it an 11 in every scene he is part of. His every expression is perfect, and his timing is impeccable. Comedic performances often don’t get the praise they deserve. Ken is by far the highlight of the movie, and it would simply not succeed without Gosling’s performance here.

Gerwig’s decision to make Ken’s character such a key aspect of the film is, in my opinion, the secret to its success. Putting Ken in the position of women in the real world is a subtle and brilliant way to drive the point of the movie home and another example of the brilliant writing on display here.

Much has been made of Margot Robbie and Greta Gerwig’s lack of nominations for this film in the Best Actress and Best Director categories at this year’s Oscars. The topic has unfortunately become politicised, and getting too involved in the discourse regarding this is enough to make any sane person’s head spin.

Putting all that to one side, I really do think both Robbie and Gerwig were deserving of nominations for their work here. Having said that, I don’t think Ryan Gosling’s nomination is a sleight of any kind, or a knock against feminism. His performance was far and away the best part of the movie, and if by some miracle he wins for this, I would be absolutely elated.

I don’t doubt that Margot Robbie will win her Oscar someday, she keeps putting out really interesting work as a producer. Further, Gerwig stands a chance in screenplay for Barbie, and I personally find that the category she would deserve it in the most. In conclusion, the snub is a shame, but not the end of the world.

Speaking of the Oscars, a trend I find rearing its head time and again is films that are true cultural moments being overlooked, only for us to realise their full potential after the fact. It is often difficult to tell which movies will stand the test of time and which will be forgotten within a year. But it is beyond apparent to me that Barbie did something unique this year. It made an insane amount of money and broke box office records while also having a significant cultural impact. The famous Barbenheimer phenomenon was unlike any of us have seen in recent memory. People flocked to the theatres in droves to experience the double feature, myself included. In a society where our attention is becoming more and more fractured, it was incredible to see everyone do something together again. Barbie was part of an actual watercooler moment, and we shouldn’t take that for granted.

Not only was the movie a cultural reset, the marketing was just as impressive. The “This Barbie is…” posters released, the red carpet outfits paying homage to classic Barbie looks, the unabashed wearing of pink and constant, “Hi, Barbie!” greetings. It is easy to forget how much of a moment this movie was. It had a cultural impact we can’t truly quantify, and I would hate to watch it go unrewarded in its time.

Having said all of this, Barbie is certainly not a perfect movie. While the story elements concerning Ken soared, those involving the Mattel executives faltered for me. There were a good few laughs elicited- I’m not one to find Will Ferrell that funny, but he was amazing here- but overall this portion of the movie just dragged, especially in contrast to how compelling the rest was.

I also found the third act to be a little sloppy. The grand finale where all the characters meet felt a little weak, likely because the Mattel executives were involved again. I honestly think cutting them out would have significantly improved the movie as a whole.

I mentioned earlier that this movie felt like it was made for the girls. More than that, it felt like it was made for me. I recognised almost every side character from some TV show I’ve watched over the years. The sense of humour was a hit almost every time. Not to mention, Dua Lipa is my favourite musical artist ever. Her cameo and song were just SO perfect for me. (Not to be outdone, “I’m Just Ken” will go down in power ballad history, and “What Was I Made For?” is a masterpiece)

It’s easy to get caught up in the discourse surrounding a film, and to let that inform how we feel about the movie itself. Especially in a world where everyone (including me) has something to say. But I’m putting that all to one side. The Barbie movie is really special to me. I love it in a deeply personal way that I can’t explain no matter how long my review is. There was a moment in the theatre where I laughed out loud and said “That is ME!” This movie felt like both a mirror and a lens. I am so beyond happy to see it get so many nominations and so much love. I think it would be so fitting for it to win big at the Oscars, the ultimate celebration of film. Because Barbie reminded me what a movie can do, how it can speak to something you didn’t know needed to be said. And most importantly, how it can make you feel.

To quote once again, “Humans have only one ending, ideas live forever.” I hope the Barbie movie lives on for a very long time.

[anticipatingevaporation]

Everything Everywhere All At Once - And why it works so well

I am so glad that the movie I was most excited to watch this Oscar season delivered on those expectations.

I find myself quite glad that this Oscar season seems to have a really diverse line-up of films nominated for best picture. From blockbuster to drama to indie films, almost every genre seems to be covered.

But there is one movie on the list that is somehow all of these genres. And that is Everything Everywhere all at Once. 

I knew little about this film going in, only that it stars Michelle Yeoh, seems to have a lot of action, and was directed by the guys who made the “Turn Down for What?” music video. That last little nugget of info really explained the madness behind this movie. If you’ve seen that music video, you’ll know it is absolute chaos. But there is something somewhat satisfying and entertaining in that chaos. It feels like chaos that you can’t help but keep watching.

And that is exactly how I felt about this movie.

Everything Everywhere All At Once really manages to live up to the title. The film is pure mayhem, there is so much going on at any given moment. And yet I never got lost. I kept waiting for the moment the film would get too insane or lose all kind of narrative sense, but it never came. It kept me hooked throughout.

Like I mentioned earlier, this movie perfectly balances a number of genres: action, comedy, romance and drama, all wrapped within a seemingly insane story involving multiple universes. The movie somehow balances and executes each of these elements flawlessly.

The action is impeccably choreographed and performed, legend of the genre Michelle Yeoh and Ke Huy Quan both sold every sequence, and directors the Daniels found a way to keep each one unique and fresh, with an entertaining spin every time.

Oftentimes with genre films such as these, you’ll find that one aspect is stronger than the other, perhaps the story drags but the action is great, or vice versa. What I love about this movie is that every part of it complements the other so well. There are real, personal stories hidden within this crazy movie. Every character has motivations, tragedies they carry with them that they must deal with. It is, like many great films, about love and family, and those unrecognised dreams we all have. 

But what is so great about EEAAO is that the genre elements only serve to enhance the emotional moments of the film. Only by having infinite multiverses displayed can we truly understand our characters, only by having insane action sequences can their wants and needs be truly displayed. The Daniels aren’t afraid to let their audience go from laughter to tears within a single moment, and they have figured out that perfect balance where the two only serve the other, rather than detract.

This is most certainly a movie that I enjoy and appreciate the more I think about it. The first thought I had as the credits rolled was, I have never seen anything like this. This isn’t a movie that will leave you quickly. Even if you don’t love it, it will most certainly make you think, I guarantee you will see things you have never seen before.

Michelle Yeoh really gave an incredible performance here, aside from having to balance so many different versions of herself and keeping the narrative straight, she displays a believable transformation in her character that is gradual but also believable. I truly hope she gets her dues and wins best actress this year. She more than deserves it.

I had no clue who Ke Huy Quan was before watching this movie, but oh man is he just an incredible actor. He at once masters comedy, romance and action, while also being the emotional centre of the film. I couldn’t help but adore his character and want to protect him at all costs! Quan seems to be the frontrunner for Best Supporting Actor this year and I couldn’t imagine a more deserving actor or performance.

Finally, Stephanie Hsu. Only on repeat viewing of this film can I truly appreciate what she has done here. She brings an incredible charisma and spunk to this film, while instantly being empathetic. You manage to be scared of and sad for her at the same time. She committed 1000% to this role and I am so glad she was nominated for Best Supporting Actress. I can’t wait to see more of her.

Finally, Daniel Kwan and Daniel Scheinert, aka the Daniels, deserve ALL the flowers they are getting for this film. While EEAAO seems to be show of madness and chaotic energy, it is in fact an exercise in restraint. It takes masterful directors and writers to make a movie like this work as well as it does. The directing duo managed to unleash their bizarre brand of storytelling on the world without overindulging. Everything done here is within reason, it all serves the narrative in some way. So while this movie may hypothesize that nothing matters, when it came to filmmaking, everything really did matter. I applaud their creative vision and commitment to delivering it to the world. It really is brilliant stuff, I am most definitely putting their previous film, Swiss Army Man on my watchlist, and keen to see what they next bestow upon us.

Aside from having a damn good title, Everything Everywhere All at Once managed to do everything, without ever doing too much, and Everyone should really give it a watch.

(apologies for puns)

[anticipatingevaporation]

The Batman

Me: I’m sick of superhero movies. They’re all the same and I don’t want to watch any more

Also me: Watches The Batman opening week.

Batman is an interesting property, one that seems to transcend mere genre. Yes, it belongs to the superhero category by default, but it would appear to have become so much more. Batman is a character that audiences keep coming back to again and again. This film is the third iteration of the character in a decade, and fifth film featuring the character in as many years. There’s something about the mythos of the character that keeps us hungry for more. Eager to see what new interpretation this particular creative team can conjure up for this iconic hero.

And safe to say, The Batman does not disappoint in the slightest. Being a DC fan, I am more than accustomed to disappointment. It will never fail to break my heart how often the studios squander the endless potential in these characters. Therefore it equally makes my heart soar when they get them right. There are so many things done well in this film, and the more I think about it the more I like it.

Let’s start with the basics: The world building in this film is really fantastic. This felt like Gotham. The slimy, grotty, seemingly irredeemable city Bruce Wayne calls home. The criminals here are established: you truly get the sense they have been doing business here for years. And more hopelessly, you also understand how the system itself is corrupt from within. This movie more than ever exposes that, making Batman’s mission all the more insurmountable.

The gloomy atmosphere of this film is made all the more apparent in the great lighting choices done here. From the opening title, there is a great use of red, which carries throughout the film, and some really terrific choices are made with light -particularly red light- that lend well to building the feel of this world.

Almost any review of this film will mention just how fantastic the score by Michael Giacchino is. He brings something new to this character that has been on screen for decades that somehow feels organic. It feels like this has always been Batman’s theme. The instrumentals are both haunting in the dark moments and thrilling in the tense ones. I absolutely loved it, even as it further immersed me into this dark, twisted world.

Now a hero is only as interesting as his villain. Along with the majority of Batman fans, I am a huge admirer of the Joker. However after the fantastic 2019 film, I feel like I need a bit of a break from the character. So I was so thrilled to see this film decide to use a different, yet equally brilliant Batman villain. There is no villain’s gallery more iconic than Batman’s (Spiderman fans don’t @ me) and I am so glad that more of these villains are getting a chance to shine.

The Riddler was beyond fantastic in this film. Both spine chilling and unhinged, you truly never knew what he would do next. His schemes and tricks were equal parts smart and gruesome enough to make your stomach turn. I couldn’t stop watching, despite how horrifying his crimes became.

I am a strong believer that good thriller/horror films are less focused on blood and gore and more on psychological warfare. And the Riddler was a perfect blend of both here. The moments without him on screen were that much paler in comparison. Paul Dano spent most of this role with his face covered up, but that didn’t lessen his impact in this film. He gave it his all, and it truly showed. Every scene with him was horrifying and memorable. He finally gave the Riddler his due on the big screen.

What was so brilliant about this character was how he used social media to amass a group of followers to his cause. It was a great decision by the writers and an organic way to use modern technology in the film without it seeming tacky or forced. These kinds of radical movements exist online today, so watching that take place in the movie was all the more terrifying.

The plot of this film was also quite well done. I appreciated that the film treated its audience with respect. It didn’t waste time re-treading ground we all knew already. Rather it jumps right into the narrative and we are just along for the ride. Director and Co-writer Matt Reeves intelligently weaves aspects of Batman’s origin story into the film without over emphasising the point. It also brings a fresh perspective into the tragedy of Batman, revealing that every thing may not always be as it seems.

Now I know what you’re thinking. That’s all well and good but what about THE Batman? We’ve all been curious how Robert Pattinson would take to this role, especially considering the earlier roles he has been known for. I’m impressed to report that Pattinson disappeared in this film. A quarter way through, I realised that I wasn’t seeing the actor. I was only seeing the character. He was Batman. The voice, the action, the detective skills, Pattinson embodied everything we associate with this character so flawlessly. So much so that I’m certain we will look back on him as one of the best actors to portray this character. I really loved this performance.

Catwoman was also well done by Zoe Kravitz. The character was given a justifiable reason for being there and had her fair share of moral conflict and struggle to face.

Colin Farrell was truly unrecognisable as The Penguin, but fit so well in this world. He was both dark and had edges of humour. Despite the Riddler’s presence in this film, it never felt overwhelmed with villains. They each had a place in the ecosystem of evil reining over Gotham.

All of this is not to say the film is without flaws. At almost 3 hours long, it did feel quite long around the ¾ mark. And the plot didn’t seem to have a truly satisfying ending. However, one could argue that is difficult to achieve in a place as twisted as Gotham.

I noticed while watching this movie that it was pretty light on action for a “superhero film”. Instead the film decides to focus on mystery and thrill. I personally loved that choice. It’s a sure-fire way to keep your audience thinking and talking about your movie for a long time to come.

Which I’m certain we will.

[dracarysqueen]

I am blood of the dragon, she told herself. I am Daenerys Stormborn, Princess of Dragonstone, of the blood and seed of Aegon the Conqueror.

[ohhelga]

“Evil is evil. Lesser, greater, middling, it’s all the same.“ - Geralt of Rivia

[movie-gifs]

You’re so wrapped up in layers, onion boy, you’re afraid of your own feelings.

Shrek (2001) dir. Andrew Adamson & Vicky Jenson

[grosezero]

This post can not be fucking real 

[shingojira]

its art and it deserves to be treated as such 

[mamalazzer]

[twitchytyrant]

I can’t believe he killed Harrison Ford twice

[bladesrunner]

They are rich but still nice.   They are nice because they are rich.

PARASITE ❖ GISAENGCHUNG 2019 | dir. Bong Joon-ho

[anticipatingevaporation]

Jojo Rabbit

[anticipatingevaporation]

Parasite

When a film actually lives up to the hype? *chef’s kiss*

You guys, You GUYS. 

I exist on the internet, so naturally the buzz surrounding this film did not pass me by. It was on everyone’s top films of the year list and the fact that a South Korean film was winning so many international awards made me more than a little excited to check it out.

And wow, did it impress.

What a complex, entertaining and frankly brilliant discussion of class divides.

What first struck me about this film was how watchable it was. This is no pretentious, confusing film. It is really entertaining. The core plot sucks you right in, and the deception involved in it keeps you on the edge of your seat throughout.

This film is part heist, part social commentary, part horror and it blends together splendidly. 

When you take a theme like rich vs poor, there are a number of basic, predictable routes you can take. What I love about Parasite is that it eschews all of those. This film is complex. The rich aren’t cardboard cut out evil overlords, and the poor aren’t holier than thou saints. This is a messy, horrible and difficult situation. And Director Bong Joon-Ho exposes that the real fight is not between the rich and the poor, but the poor and the even poorer who scramble over the scraps left behind by the obscenely rich. This truly is a world where the dog eats the dog. And it is horrifying to witness. 

The filmmaking here is at once smooth and natural while being very deliberate. Every shot is there for a reason, the framing and use of stairs and vertical space is so well done to drive home the themes of the film. This movie feels so well thought through. I know that I’ll only enjoy it more on repeated viewings.

To quote another iconic film, Parasite is like an onion, onions have layers. This film only gets more fascinating with each one you pull back.

The acting here was also really fantastic, the two classes felt truly distinct from one another. And the characters really got you to empathise with them very quickly. So much so that you are on the edge of your seat praying for their survival as you watch.

This is the type of film that can be enjoyed in a commercial sense, but also analysed in film schools. For a storytelling nerd like myself, it is so delightful to continually find more ways that the themes and plots tie together. 

It is also so refreshing to see a film like this receive such high praise and accolades. Watching Parasite get all this exposure and win so many awards give me hope that truly good quality films aren’t dead, nor are they difficult to appreciate by mainstream audiences.

Bong Joon-Ho really hit it out of the park with this one, I truly hope this film is rewarded with some awards on Oscars night, because it is more than deserving. 

[anticipatingevaporation]

Little Women

Does my reason for wanting to watch this movie start with Timothée and end in Chalamet? Yes.

Do I care how vain that makes me seem? Nope.

Fun fact about me: I talk a big game when it comes to movies and books, but I am actually very underexposed when it comes to what you would call the “classics” of each medium.

In other words, I have neither read the original Little Women novel nor watched any of the previous six film adaptations.

Suffice to say I was concerned going into this blind, but hopeful that I would still get the gist of the narrative.

Greta Gerwig’s previous film, Lady Bird was unfortunately not my cup of tea, so I was hopeful that Little Women would bring about a change of mind.

And oh. my. goodness. I loved this film.  Like absolutely loved it. 

It’s difficult to say how much of this is due to the story content which of course originates from the novel itself, or the interpretation, which is all Gerwig’s. But I truly think there is huge merit to be found in the latter. 

Where do I begin with what I love about this film?

First off, the casting and acting in this film is top notch. These characters truly feel like a family. The way they are depicted, at their highs and lows, through their joys and their squabbles was just so real. The March sisters’ interactions often reminded me of mine with my own siblings. As much as this film would perhaps give off the impression of a wholesome, clean, “everything is perfect” type world, the bond these sisters share is anything but perfect. It is tangled and messy, filled with heartbreak and petty fights, but it is true. The way Gerwig captures this relationship which is so central to the film manages to get you to care about all of these girls in such a short amount of time. I was almost crying at several points in this film. And that is a rarity for me.

Saorise Ronan continues to be one of the most impressive actors of her generation. The word that came to mind while watching her performance was natural. Ronan is made for the camera, she seems so at ease and there is virtually no distance between the viewer and performer here. Her performance was so effortless and genuine, every emotion was so pure and true. I loved it.

Florence Pugh was a revelation in this movie. I would actually love to see her win for Best Supporting Actress here. I don’t know much about the Little Women lore, but I do know enough to be aware that up till now Amy has been a rather unlikeable character. And true, her actions on paper aren’t the greatest. But Pugh envelops this brattiness with charisma and humour. She doesn’t soften the edges of the character at all, but she is a magnetic presence on screen. She turned what could have been a one-dimensional petty character into a favourite of mine. And that is a skill I am in absolute awe of.

Timothée Chalamet continues to be adorable, charming and so pure onscreen. His performance made my heart swell and I love him and that is all.

Greta Gerwig brings a unique spin to this well-known story by regularly jumping back and forth in time. And this is no gimmick, it is done brilliantly here. Firstly, huge props to the makeup and hair departments for making the looks of the girls in each time period so distinct but realistically so. The girls actually looked aged up and down respectively. And secondly, Gerwig’s construction of this narrative was really well done. The transitions between past and present were well thought out, ranging from interesting to sobering, and the way different events are put in sequence really allowed Gerwig to drive home some themes that may not have been as apparent if the story was simply viewed chronologically. As much as the content itself is not original, the way Gerwig has put it together is, and it is a stroke of genius. I loved how this story was constructed and am so glad to see Gerwig’s nomination for Best Adapted Screenplay. (especially considering how she was robbed of a Best Directing nomination)

The dialogues here were similarly fantastic. I was pleasantly surprised by how fast moving it was. When you go into a period piece, you come to expect a certain style of speaking but this was a welcome change. The dialogue is a perfect blend between modern and realistic to the time period. And the way it so rapidly jumped from one character to another so perfectly embodied what families are like. I often found myself rewinding a little just to catch the hidden dialogues.

This film touches on so many themes I could relate to personally. What it means to be a writer, what it means to be a woman. And even though it was written 150 years ago, it still rings true today. Yes, some things have changed when it comes to how women conduct their lives, but there are some core truths that remain unchanged. I felt so understood watching this film, it was magnificent.

At one point in this film, Jo mentions how she feels stories about domestic life are “unimportant” and not worth being told. 

I have to say, after witnessing this work of art I could not disagree more. This film really moved me. It says so much about family, love and womanhood. So while it may not be “big” in the classical sense, it was huge for me. I don’t think I could possibly love it more. A true favourite that I would be more than happy to revisit.

[anticipatingevaporation]

Bombshell

This film was difficult to watch in the best way possible...

So I went into this movie knowing a little but not a lot about the real-life events it was based on. Those being the harassment allegations raised by numerous women who worked at the Fox Network, led by Gretchen Carlson, against former CEO Roger Ailes.  I was concerned going into the film that my lack of context would result in my being lost and confused, but thankfully the film is pretty straightforward and doesn’t require much prior knowledge to be appreciated.

The first few minutes of Bombshell had me truly concerned. I felt my heart drop as I watched the protagonist breaking the fourth wall and more or less explaining the world of the film to the viewer. I cringed as graphics with photos and arrows clarifying who knows whom and what certain people’s careers had entailed popped up. I got some real PTSD from watching Vice last year, which did a very similar thing that I absolutely loathed.

Luckily, this didn’t last very long. Pretty soon, the proper story picks up and I found myself really impressed with how it was portrayed.

There is a lot to like in Bombshell. First and foremost is the brilliant truths it depicts regarding women in the workplace. Harassment in the workplace is something that I am aware exists, but it doesn’t make it any less revolting to witness. It is truly horrifying to watch what these women undergo in this film and more so with the knowledge that this actually happened. 

What I think this film does really well is show how this is a systemic issue here. The film never boils down to women=good, men=bad. Because situations like this are rarely, if ever so simple. In this instance, Ailes had an entire system set up that both allowed him to get away with what he was doing, and made it all but impossible for someone to stand up to him and put a stop to it. He held all the power and he exploited it. What I found even more upsetting to see were the numerous women who were more or less brainwashed into complying with this abusive agenda that kept them down and powerless. And how could they not be? In an environment like TV, like Fox, where there is a queue of women ready to take your place if you make any kind of error, who wouldn’t want to keep quiet? Bombshell so perfectly depicts that tightrope that women often have to walk. In order to keep their career, to get that promotion or to simply keep being able to do the work they love, they are asked to sacrifice their dignity and perform sexual acts. In this world, it is just a given.

Furthermore, this film really brilliantly showcases how difficult it is to stand up to this kind of behaviour. For one, it is something that can never be taken back. These women don’t want to become poster-children for abuse, they just want to go about their work without being abused, and stepping forward will forever change their career trajectory. Having to make that kind of decision is never easy, and it’s great how this movie shows that.  It also shows just how difficult it is to stand out from the crowd and be that person who speaks out. Gretchen Carlson had to undergo tremendous sacrifice to hold her abuser to account. This kind of thing is never easy, everyone can turn on you in a moment and I really appreciated how Bombshell showcased that hardship.

There was a particular sequence in this film that utilised voice over so brilliantly to depict how a woman has to think and respond when she finds herself in a situation where she is being propositioned by a co-worker in exchange for a potential promotion. It was all too real and heart breaking to watch. 

Roger Ailes was an unmistakable monster who did some truly horrific things, but it was so interesting to see at one point in the film Megyn Kelly, someone he also harassed, talk about the good things he has also done, the people he’s helped and the relationship they’ve cultivated over the years. This is not to say this excuses his appalling behaviour, but I do appreciate how the film depicted these people as people. And people are never just one thing. And it is that complexity of both the person and the relationship that contributed to it being a difficult decision for Kelly to make to step forward about the abuse she suffered. I love that the film decided to take this more complex route.

Now, onto performances. Charlize Theron is the clear standout here, she truly becomes Megyn Kelly. From her voice to her posture to the incredible makeup and styling, she really disappeared into the role and I loved every minute of her onscreen. She is more than deserving of her Best Actress nomination here. 

Margot Robbie also does a great job here, her expressions felt really genuine and I think she was really well cast here, (as opposed to say I, Tonya) where her beauty is realistic for the character she is portraying.

Nicole Kidman also did a good job, but personally she was my least favourite of the trio. I liked her character, but I think her acting was a little forced at points.

John Lithgow continues to impress in a brilliant turn as Roger Ailes. He brings the paranoid, disgusting nature of this man to life. Making him someone you hate to watch but can’t stop watching.

My real issue with this film comes from the direction and the way it is put together. While none of the film was as bad as those first few minutes, there were still moments where graphics and timelines popped up, explaining every little thing to the viewer. I found it extremely patronising, as if the filmmakers couldn’t trust the audience to work things out for themselves. There was also an extremely frustrating trend where the names and titles of every single character who spoke would pop up onscreen. I hated it. There were also some odd directing choices made here with oddly timed zooms in and strange framing of shots from time to time. I guess the director was trying to make the film seem raw and in the moment, but it just looked sloppy.

Also, just as the film started out poorly with exposition and unnecessary voice over. it also ended weakly with more unnecessary voice over that was too tell-y, clashing with the more nuanced parts of the film itself.

Having said all that, I would say Bombshell is still worth watching. It examines a complex, messy issue in an honest, realistic manner and exposes the horrors that many women are unfortunately still undergoing in their workplaces.

[anticipatingevaporation]

Marriage Story

Moral of the story: Don’t get married, that way you’ll never get divorced. 

Hello everyone and welcome to my fourth annual Oscar Movie Mission! I will once again be endeavouring to watch and review all the nominees for Best Picture, all the acting categories and Best Screenplay. So without further ado...

Marriage Story was one of the nominated films I was more excited to watch, mostly because I had heard the screenplay was truly fantastic stuff, and as an aspiring writer myself, that is something I am always keen to see.

However if I’m being totally honest, as I started watching this movie, I was a little worried that I had let it be overhyped and was about to be inevitably disappointed. 

But I needn’t have worried, because Writer and Director Noah Baumbach along with Scarlett Johanson and Adam Driver brought this movie home. By the end I was extremely impressed.

Let’s start with that screenplay that has been so raved about. The accolades are more than merited in this case. Baumbach has a superb talent for capturing the essence of normalcy. These feel like real conversations that ebb and flow the way normal people talk. The dialogue here is just so smooth and natural, people jump from topic to topic in that disjointed but interconnected way they often do. Things escalate and people argue and disagree the way you expect them to. People are quirky and weird and uncertain just the way they often are. It is just so brilliant the way these dialogues are written. I found myself replaying certain scenes just to catch every single word, because they all mean something. This movie often felt more like theatre than film, both because it is so dialogue heavy but also because of how raw it was. These characters weren’t characters, they were people. And I loved watching that.

The subject matter here: a divorce proceeding, is a brilliant choice here on the part of the filmmaker. Because it is in these times of frustration and stress that you see people’s true personalities emerge. It was so fascinating watching these two people wrestle with what is ultimately a truly difficult procedure. Baumbach portrays this story in a manner that doesn’t have “winners”, but is just really tough to go through and can bring out the worst in people at times. Throughout this film, it struck me just how awful divorces are. (I wasn’t kidding in the intro...)

Baumbach also cleverly includes a number of bait and switches in his script. There were several moments where I found myself shocked at a revelation, because the film had led me to believe one thing when the actuality was something else entirely. It was really well executed and kept me on my toes.

Of course, none of this splendid writing would mean much without the absolutely powerhouse performances of the two leads. It’s roles like this I imagine actors absolutely love. These are some meaty roles, with long monologues, snappy back and forth and even singing involved. And both Adam Driver and Scarlett Johansson more than deliver. They keep the performances from being too flashy or forced. The acting lines up with the style of the dialogue in that it is really pulled back and natural. Consequently the emotions that inevitably arise during the story feel earned and real. It is so exciting to watch two extremely capable actors take on such dynamic roles and pull them off so well. These two are more than deserving of their acting nominations.

While Marriage Story depicts the tragedy of divorce to a tee, it also states that life without marriage, without a companion is lonely and meaningless. Baumbach decides that while being married can be difficult and yes can result in a messy divorce, it is ultimately worth it for the joy and feeling of being alive that you only get from being with another person.

This film is so interesting and the more I think about it, the more I like it. I am so glad it did not disappoint and so happy it got so many nominations. I would love to see it win in some categories too!

I ultimately go to a movie looking for something that tells me more about people; how do we act, how do we fight, how do we love, how do we live. This film exposes the human condition so brilliantly in a frighteningly real way that I think anyone can relate to. 

So while I’m still not convinced if marriages are worth it, this movie definitely is.

[aish-rai]

“In reality there is only love and nothing else. And when god blesses you with the person who makes you realize that everyday, you have just one feeling, gratitude.”

[tim-lucy]

In my time working for the state government, my job sent me to 46 cities in 11 years. I lived in villages with 8 people, rural farming communities, college towns. I was sent to every corner of Indiana. And then I came here and I realized that this whole time, I was just wandering around everywhere, just looking for you.

[rosejpgif-deactivated20210806]

Geralt of Rivia - The Witcher (2019)

[mamachonnes]

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