Oscar season is upon us and since I’ve seen most of the contenders, I’m sharing my quick reviews and rank them from my least to most favourite!
DARKEST HOUR (2.5/5)… This is the weakest of the bunch. The film CHURCHILL is way much better. This film is too bland and stale in its historical depictions. Gary Oldman’s semi-comical performance as Churchill is also comparatively weak. And to think he won Best Actor at the Screen Actors Guild (SAG) awards! Hoping this doesn’t translate into an Oscar win. At its core, this film has the surprising battling power to disengage its audience.
DUNKIRK (2.5/5)… More atmospheric than conventional storytelling in its account of the famous WWII battle, Christopher Nolan takes his audience to a sparse and maybe a bit understated path that may not be that appetising to the general palate. This is quite consistent with Nolan’s previous work, which puts more emphasis on atmosphere and look, not the content. For those who love a strong story, this is not for you.
THE FLORIDA PROJECT (3/5)… Willem Dafoe has a cameo in this low budget indie fare that opens the audience to poverty in contemporary America. It offers real, gritty performances from its relatively young cast. Though emphatic and in-your-face affecting, it can be a bit meandering at times with its mostly dizzying handheld camera shots. Make sure to get your caffeine hit before seeing this.
THREE BILLBOARDS OUTSIDE EBBING, MISSOURI (3/5)… Similar to a Coen brothers film in its treatment but doesn’t really fully go there. Instead, it delves into political incorrectness with its improbable overnight redemption of a racist as well as its portrayal of dwarfism. It is condescending and caricaturist in its treatment of middle America and muddles up the issues of race with violence against women. A bit awkward and really unfunny in certain scenes and Frances McDormand’s performance is a bit overrated.
MOLLY’S GAME (3.5/5)… Aaron Sorkin directs this high stakes poker drama thriller with Jessica Chastain dominating the screen. Surprisingly well-directed and well-paced, Sorkin has minimised his trademark verbosity but still be prepared for an exposition overload. The film entertains but has not quite achieved an ace.
THE SQUARE (3.5/5)… This Best Foreign Film entry from Sweden and a surprise Cannes winner is brilliant during its darker social realist comedic moments though it scuffles a bit with its end resolution. This is a film that you develop a taste for, definitely not instantly likeable. If absurdist satire is your fare, this one is for you.
ON BODY AND SOUL (3.5/5)… This Best Foreign Film entry from Hungary is exquisitely filmed, confronting, metaphorical, masterful… from the existential duality of the slaughtering of the cows to the slashing of the wrists. A bit of a slow burn but certain scenes will be embellished in your mind forever.
THE DISASTER ARTIST (3.5/5)… Despite being a casualty from a political backlash in Hollywood, this film is worth watching for its genuinely funny moments as it explores the relentless pursuit of the Hollywood dream. Unfortunately, James Franco has been snubbed by the Oscars. Alas, we have now lost the opportunity of witnessing a victory of a best film made out of the worst film of all time.
BABY DRIVER (4/5)… Ansel Elgort is the star of this fast, hip stylish heist film that is both innovative and fresh in treatment. He commands such presence on screen and paired with the fresh, high-energy songs from his iPod, be prepared to enjoy this adrenalin-fuelled joy ride.
WONDER (4/5)… A terrific performance from its lead Jacob Tremblay endears you to his plight as well as his family in this youthful angst and struggle for belonging fare. Wonderfully written and directed, this film takes you on a ride of friendship, kindness, and acceptance that will warm both your heart and mind. Have those tissues ready.
GET OUT (4/5)… Cleverly mixing the horror genre with race issues, first-time director Jordan Peele has created an instant classic that goes beyond the horror-thriller genre. A brilliant idea of translating racial fears as elements for a horror film can either become a controversial flop or an innovative success. This film is brilliantly written and deftly directed enough to achieve the latter.
LAST MEN IN ALEPPO (4/5)… This Best Documentary entry from Syria is heartbreaking, gut-wrenching as the audience is transported straight into the horrors of the Syrian civil war. Filmed in the heart of the war zone, the terror becomes all too real and painful. It humanises the victims of the tragedy as you become helpless witnesses to this madness.
LADY BIRD (4/5)… Greta Gerwig does a great job writing and directing this semi-autobiographical piece. Part-Baumbach (her hubby) in style, the film is bittersweet funny with a likeable performance by Saoirse Ronan as the headstrong teen. Not your typical teenage fare, it explores angst and sexual identity in a claustrophobic suburban milieu. This is an ode to adolescence from one of the few women who get to break in the all-male Best Director category.
THE SHAPE OF WATER (4.5/5)… Guillermo del Toro is a sure-fire winner for Best Director for this metaphorical monster love story, a tantalising tale that explores dehumanisation and the powerful message of redemption through tolerance and acceptance. Sally Hawkins boldly shines in her role in this very well crafted film. It has the most Oscar nominations and will probably get the most wins including the coveted Best Picture.
ABACUS: SMALL ENOUGH TO JAIL (4.5/5)… This Best Documentary entry is a classic David-Goliath story that involves witch hunts, scapegoats and a very determined American Chinese banker family from New York City. Don’t we just love the underdogs, especially when in the context of an unjust system? From the mayo scene to its final resolution, this doco is a gem!
UNA MUJER FANTASTICA (4.5/5)… This Best Foreign Film entry from Chile packs the melodramatic punch with a trans woman in the lead role as she fights for her rights as the rightful partner of her departed lover. A very unique drama of defiance and determination that is finally tackled by contemporary cinema, and it’s about time. This film is brave, bold and original in its depiction of trans struggle. Pauline Vega does justice to the demanding dramatic role. Get a treat from the theme song from the Alan Parsons Project as well as the Iguazu Falls moment.
I, TONYA (4.5/5)… Margot Robbie delivers a powerful performance as Tonya Harding and Alison Janney is a definite winner for Best Supporting Actress in this quite entertaining interpretation of the infamous Olympic skating scandal. The film has an interesting take on domestic violence that may not be for some but its truth-is-stranger-than-fiction really makes this worth watching. In the end, it is quite an interesting take on celebrity and media, and there’s never a dull moment in and out of the skating rink.
THE POST (5/5)… Steven Spielberg successfully transports his audience to the Nixon pre-Watergate era of the 70s in this survival story of the Washington Post. The venerable Meryl Streep gives a very vulnerable nuanced performance as the fragile unsure owner of the paper. A very timely film about the freedom of the press in an environment now where the press is suppressed by the powers that be. The great Spielberg still delivers the goods.
ALL THE MONEY IN THE WORLD (5/5)… Not many may agree but Ridley Scott has created a breathtaking kidnapping film that is both existentialist in message and riveting at the same time. Christopher Plummer deserves the Best Supporting Actor award for his mature performance as J. Paul Getty. Michelle Williams is also fantastic as the torn mother of the kidnapped Getty. Very layered and quite philosophical in its examination of the value of wealth vis-a-vis the meaning of one’s life. This film will definitely make you reflect after.
PHANTOM THREAD (5/5)… P. T. Anderson has delivered another masterpiece after a long break in this dark romantic tale of the determined artist and the romantic conflicts entangling his work. Daniel Day Lewis is phenomenal in this film and deserves to be one of the frontrunners for the Best Actor category. Once again, Anderson sews a beautiful fabric of tension and drama through impressive acting, a twisted storyline and highlights it with a beautiful score and camera work in this very elegant film.
CALL ME BY YOUR NAME (5/5)… Love this film for two memorable scenes: the father-son moment and the closing credits shot. Magnificent writing by James Ivory, arty direction by Luca Guadagnino, the perfect casting and the fine performance of Timothée Hal Chalamet elevates the film’s celebration of broad-minded calm intellectualism and acceptance of sexuality. This is up there among the queer classics as one of the best gay coming-of-age and romance films ever made. I have seen this film twice and I love its artistry and nuances more the second time around. A modern-day masterpiece!
The Jewish International Film Festival (JIFF) is already midway at the Ritz Cinema in Randwick, Sydney, which started from 18 February up to 24 March 2021. There have been plenty of films screened, including a diverse selection of documentaries on various themes and topics.
There is a lot of trepidation in Hollywood in handling unsure material as CRAZY RICH ASIANS can attest. The last time an all-Asian cast modern-day Hollywood film was made was 25 years ago in 1993 with THE JOY LUCK CLUB, earning modest critical and box office success.
