The Mule

Tags

2010's, Alison Eastwood, Andy Garcia, Based on a true story, Bradley Cooper, Clint Eastwood, Crime, Dianne Wiest, Drama, Laurence Fishburne, Michael Peña, Taissa Farmiga, The Mule

Director

Clint Eastwood

Starring

• Clint Eastwood as Earl Stone
• Dianne Wiest as Mary
• Bradley Cooper as Colin Bates
• Michael Peña as Trevino
• Laurence Fishburne as Head of DEA
• Taissa Farmiga as Ginny
• Alison Eastwood as Iris
• Andy Garcia as Laton

Clint Eastwood directs and steps in front of the camera once more with The Mule, which takes basis from a true story of an elderly man who was an unlikely drugs mule for a cartel. With it being Eastwood there is undoubtedly talent here and good spots. The trouble is The Mule stumbles in the mid section and I can’t help but feel it could have been better than it was.

Earl Stone is a 90-year-old horticulturist who has seen better days. He’s become bitter and out of sync with society. His business is approaching foreclosure and after being so neglectful of his family, most of them have shunned him and his wife Mary has divorced him. His granddaughter Ginny hasn’t turned her back on him and invites him to her engagement party. It’s at the party that someone gives Earl a tip-off of a job where all he needs to do is drive. Desperate, Earl accepts, little realising that he’s becoming a drugs mule. Even when he does discover what he’s transporting, he asks no questions as he is so in need of the cash. With the money he gets from each job, he tries to make amends with people he’s wronged in the past and attempts to build more bridges with his estranged family. This goes very well and his efficiency in the job earns him some respect in the cartel community, particularly the head honcho. But the DEA is trying to crack down on drug smuggling and a transportation in Illinois and as headed by the purposeful Colin Bates, they aren’t going to stop until they reach the source of the illegal acts. Earl keeps going with the job, slowly coming to see the darkness he has put himself in. Yet as the DEA closes in and the cartel start to fight amongst each other, Earl is stuck firmly in the middle of what could be a very dangerous situation.

Clint Eastwood brings his usual professional sheen to the film and focuses on characters, primarily Earl. Character development of the titular mule is what this film does well. I especially though there was poignancy to the fact that Earl feels so out-of-place in a technical, modern world that he doesn’t understand. That was one thing that came through loud and clear when watching The Mule. Not all of Eastwood’s decision behind the camera pay off, for starters the film runs too long and falters in the middle part. But his sophistication and handling of the main narrative is excellent and provides at least some emotional tie. If anything’s to blame for The Mule not being an overall excellent movie, it’s the script. Although it does bring out moments of dramatic worth, I need felt it all came together clearly or pleasingly enough. Having the other story of the DEA dragged a lot and didn’t feel not nearly as compelling as watching Earl slowly make attempts at redemption while he goes along on this dangerous ride . And though The Mule has its share of humour and lightness, the middle part where Earl sees the corrupt but intriguing wealth of drug dealers doesn’t quite sit right with the rest of the film. It only is really there to show what while he’s old, he’s still got some rascal about him with the ladies and can still have a good time. This isn’t to say that The Mule is a terrible movie( it’s actually quite good but flawed in execution), I just expected a bit more from it. I’m firmly on the fence with this offering from Eastwood, but his undeniable talent is still alive which I’m grateful for. Once seriousness kicks in, the last half of The Mule redeems quite a number of the foibles that so ruined the earlier parts. It’s here when we get the weight and emotional heft of a man coming to terms with what he’s done and these are the best moments. Eastwood’s love of jazz is prevalent too, using any opportunity he can to indulge us with melodies.

Clint Eastwood can do the grumpy, old guy act in his sleep and he portrays something akin to that here. But being Eastwood, it’s not just cut and dry. He inserts charm, humour and sadness into the character often with just a look or movement of eyes. The character is morally complex and flawed, which Eastwood is adept at bringing forth here and throughout his career. And credit to the guy, he’s 88 and still going strong, even if he’s made to look more frail and weathered here than he actually is. He’s one of the biggest assets going in The Mule and of the best things in it. In yer,s of acting, Eastwood is given the most to do. Dianne Wiest makes the most of her role as the ex-wife who still can’t shake him, despite vehement arguments that she is fine alone. Her scenes with Eastwood really have an emotional hook to them that both play beautifully. On the other hand Bradley Cooper, Michael Peña and Laurence Fishburne are all underused as DEA agents closing on the cartel. All three are great actors, but they aren’t provided with sufficient meat to savour on and make them memorable in this flick. Taissa Farmiga does what she can with her role as the only person who seems to see the good in her flawed Grandfather, while Alison Eastwood(Clint’s actual daughter) has her moments reconnecting with her estranged father that hit hard. In a brief part, Andy Garcia is highly entertaining as the cartel boss with flamboyant style.

Immensely uneven but definitely watchable, The Mule is a mixed offering from Clint Eastwood. I’m firmly in the middle in my opinion, but I can’t deny that Eastwood’s still got it, even when the work is minor and not quite a pitch on his more successful films.

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Stan & Ollie

Tags

2010's, Biopic, Drama, John C. Reilly, Jon S. Baird, Laurel and Hardy, Nina Arianda, Shirley Henderson, Stan & Ollie, Steve Coogan

Director

Jon S. Baird

Starring

• Steve Coogan as Stan Laurel
• John C. Reilly as Oliver Hardy
• Shirley Henderson as Lucille Hardy
• Nina Arianda as Ida Kitaeva Laurel

A warmly bittersweet film about the last hurrah of legendary comedy duo Laurel and Hardy, Stan & Ollie is a film that invests you with the double act with just how involving, funny and poignant it is.

We begin in 1937 when Laurel and Hardy are at their peak, but even here they are still paid less than the other stars. Stan wants to get out of his contract with producer Hal Roach, as he doesn’t feel appreciated by him. Oliver wants to keep things as they are and not rock the boat anymore than it needs to be. This instance will be one that plays an important part later in the film. Fast forward to the 1950’s, neither man is at their height of fame anymore. But each has been persuaded to go on a music hall tour in the United Kingdom. Stan, who is the one behind the jokes and material of the routines, hopes what they ear in money can be used to finance a picture Stan wants to do. Oliver is in bad shape and not really a well man, but agrees to reform again. As they soon discover, it’s hard getting back out there because new talent has come along and captured the imagination of the public. The shows begin with not many people showing up in the audience, which doesn’t go unnoticed. Plus, various issues that have long remained dormant threaten to overshadow the tour and tear apart a friendship. But over time, the old magic comes back and the road looks set for a return to form, aided by the support of two sparring wives . Though spanners are thrown in the works, like Oliver’s failing health and with the history of the two, it could just be one last hurrah for the legends of comedy that are Laurel and Hardy.

Jon S.Baird is clearly crafting an affectionate but also revealing portrait of the legends and boy does he ever deliver. Along with the clever script that deftly mixes humour and pathos from Jeff Pope, Baird really dazzles with his warm-hearted but still bittersweet approach to behind the scenes of the lives of the beloved team. Of particular note is the virtuoso opening sequence in one shot of the team in their prime walking through the backlog of a studio, while they deliberate their contract with the slimy Hal Roach . Once the cameras roll, they are the Laurel and Hardy of legend, but there’s more going on behind the stage. The balance between the two elements of emotion and laughs is held neatly and makes the film flow amazingly. Nowhere is this more apparent than in the public argument between the duo which is filled with personal feelings of anger, but mistaken by onlookers as just part of their humorous act. In fact there are many instances of Stan and Ollie slipping into the public image that everyone knows in order to save face or escape from the harshness of life. The humour mingles with the melancholy and has you glued as Stan and Ollie realise that they need the other, despite buried grievances from the past. Credit must go to the staging, editing and make up, that make both lead actors the image of the great comedic duo. The recreation scenes from the movies of the stars is also a stroke of genius and is so precise and well realised. It leaves you smiling and with a lot of feeling, like all good movies should. A music score that is by turns deep and by others light, perfectly embodies what Stan & Ollie is going for in terms of audience feeling. I must admit in finding any fault with this movie as it was the definition of a fantastic cinema experience.

What really makes this movie soar is the lead work from Steve Coogan and John C. Reilly as Laurel and Hardy. Both get all the public mannerisms just right, like Hardy’s exasperated facial expressions and Laurel’s passive simpleton tics. It’s really uncanny as Coogan and Reilly have really done their homework and put their all into it. But it’s watching them reveal the behind the scenes nature of each. Coogan splendidly dives into the brains of Stan Laurel( which ironically go against the role of lovable idiot that he was in the public image) and the underlying sadness of someone wanting to succeed, but is also bitter by events of the past. It’s the fantastic mix of humour and emotion that also transfers to John C. Reilly, whose his equal as Oliver Hardy. Reilly has this sunny disposition that’s set against the alternating feeling of fatigue and hope.  The chemistry between the two works beautifully, much like the men they are portraying and paying tribute to. You never doubt for a minute that you’re witnessing two stellar performances that have great nuance. Sometimes with just a look, they say everything they need to. And while they form the centrepiece of Stan & Ollie, two other supporting members of the cast show they are no slouches either. They are Shirley Henderson and Nina Arianda. Both spark off the other as the spouses of the title characters, leading one person to say ‘two double acts for the price of one’. Both ladies are forceful, funny and entertaining in their own ways and they two contribute largely to the film as the supportive but firm wives.  It’s excellent casting all around for Stan & Ollie.

A wonderfully entertaining biopic that manages to sidestep the usual histrionics and over the top nature of the genre, Stan & Ollie weaves a warm picture that is bolstered by the spot on performances of Steve Coogan and John C. Reilly.

The Killing of a Sacred Deer

Tags

2010's, Alicia Silverstone, Barry Keoghan, Colin Farrell, Horror, Nicole Kidman, Psychological Horror, Psychological Thriller, Raffey Cassidy, Sunny Suljic, The Killing of a Sacred Deer, Yorgos Lanthimos

Director

Yorgos Lanthimos

Starring

• Colin Farrell as Steven Murphy
• Nicole Kidman as Anna Murphy
• Barry Keoghan as Martin
• Raffey Cassidy as Kim Murphy
• Sunny Suljic as Bob Murphy
• Alicia Silverstone as Martin’s Mother

An unsettling psychological horror with the trademark Yorgos Lanthimos touch and reference to Greek myth, The Killing of a Sacred Deer is very disturbing but impossible to turn away from.

Cardiologist Steven Murphy has it all; a great career, a beautiful ophthalmologist wife Anna and two young, well-behaved children, Kim and Bob. His picture perfect life in the suburbs is seemingly here to stay, but there is a tiny and disturbing hitch too it. He has a friendship with a 16-year-old boy named Martin, who he meets and showers gifts upon. Although is friendly with Martin and introduces him to his family, there is something decidedly off about the whole arrangement that you can’t shake. And soon enough, the demanding Martin, when he’s not trying to set up Steven with his mother, becomes a thorn in side. He becomes more dependent and doesn’t seem to understand that his presence is not always needed. His obsession grows and starts to worry Steven, who mainly took interest in the boy after his father, who he treated earlier, died . Then, out of nowhere, Bob loses the use of his legs and is hospitalised. This is soon followed by Kim, which begins to have an impact on Anna who is in the dark on what is happening. Steven starts to unravel too as things turn worse for his idyllic family and he’s thrown into a tailspin. Yet as illness sets in, an increasingly menacing Martin reminds Steven of a past mistake of his that links to the young boy’s life. Soon everything is under crisis and  Steven’s existence is torn apart by his past actions and the boy who wants to even what he sees as the score.

With a catalogue of films that revel in dark subject matter, unusually black humour and an all round weirdness, Yorgos Lanthimos has really made a name for him. The Killing of a Sacred Deer is Yorgos Lanthimos working fluently and creatively to fashion a story of deep-seated revenge and culpability. He has this bubbling intensity and creeping eeriness that happens right from the startling opening of an open heart surgery. You know from that point on it’s going to be a disturbing movie, but what a movie it is. Lanthimos is in control here; cold and calculating in the style of Stanley Kubrick whose work clearly has an imprint. And while Martin is what seems to be the main antagonist of the piece, the other characters also sport unusual tendencies that mark them out as not as innocent or polished as they outwardly appear. For example, Steven is an arrogant man who can’t handle not being able to exercise control over things. This extends to his love life with his wife, who he has pretend to be under anaesthetic when getting intimate. The deadpan, almost robotic way of talking that has come to populate the work of Lanthimos is here, but does also allow for shadings of emotion and drama in there. And the uneasy and uncomfortable humour further sears itself on to the mind, as characters behave in ways that seem at once alien and yet so ordinary. It’s the kind of humour that you don’t know whether to laugh at or question, and is all the better for it. It sure keeps you on your toes as you navigate another weird world from the mind of Yorgos Lanthimos. And though some of it might sound familiar to lovers of psychological horror, it’s the execution that truly counts and Sacred Deer delivers with its own twist on things.

With long corridors of scrubbed white, cavernous interiors and a zooming, voyeuristic camera, The Killing of a Sacred Deer also deserves praises for what it visually gets across to the viewer. It’s a sinister and slithering atmosphere of increased dread as evil and retribution combine and you feel the hairs on the back of your neck stand up. Credit must go to the cinematographer that is Thimios Bakatakis for imbuing The Killing of a Sacred Deer with such an impending aura of doom and inevitable woe. We often observe characters from a distance or from a looming height; neatly edited and giving the impression of spying on events as they take shape.  The whole psychological aspect of having to make a horrifying decision for something you’ve done is creepy and more than makes its mark on you as the gears of tension continue turning. Discordant strings telegraph that something is not right from the word go and the addition of opera accentuates the tragedy here. The film is influenced by a Greek myth that gives the movie its title and accordingly, the swelling and rumbling of music heralds the approaching agony of loss and blame. Those looking for a comfortable viewing experiences better check those expectations at the door as The Killing of a Sacred Deer is not one for the easily frightened or spooked.

Colin Farrell, who was so good in The Lobster, plays someone spineless and full of themselves here. His character’s  life is so meticulous and to his liking that it’s given a royal kicking when horror unravels. Sporting a bushy beard and his real accent, Farrell is extremely watchable as the cardiologist haunted by the past. Equally as good is the ever dependable Nicole Kidman, who’s been on a roll recently with her performances. With her face that silently projects inner turmoil and frazzled intensity, she’s ideal for the role here that could have easily just been a throwaway part. With Kidman in it, it’s impossible for it to be anything less than stellar, particularly when she comes into her own in the latter half of the film and everything gets laid bare. The Killing of a Sacred Deer is my first introduction to young actor Barry Keoghan. And if the rest of career is as good as his work here, great things await him indeed. He has this naturally mysterious and sinister presence, complimented by how he speaks the dialogue in a halting but intimidating way. It’s enough to set you on edge and Keoghan knocks it out the park as a vengeful teen, dishing out his brand of justice to an idyllic family. Raffey Cassidy plays the daughter of Steven and Anna; who is drawn to Martin even though he’s the one out to ruin her family. Young Sunny Suljic portrays the son, who is the first to fall ill and crank up the eeriness. And it’s nice to see Alicia Silverstone back on screen again with a very memorable one scene performance. She gets the movie’s best line after she is rejected by Steven for putting the moves on him. Everyone gets in to the mindset of the film and the unusual demands of it.

A spine-chilling, deeply unnerving and memorable horror/thriller with psychological terror at the centre, The Killing of a Secret Deer is a haunting movie that is hard to shake off.

The Favourite

Tags

2010's, Comedy, Emma Stone, Joe Alwyn, Nicholas Hoult, Olivia Colman, Period Drama, Rachel Weisz, The Favourite, Yorgos Lanthimos

Director

Yorgos Lanthimos

Starring

• Olivia Colman as Queen Anne
• Rachel Weisz as Sarah Churchill, Duchess of Marlborough
• Emma Stone as Abigail Hill
• Nicholas Hoult as Robert Harley
• Joe Alwyn as Samuel Masham

A riotous, outrageous and caustically witty look at the court of Queen Anne and the machinations of it, The Favourite is both savage and very funny as directed by the maestro that is Yorgos Lanthimos.

It is the early 18th Century and England is at war with France. Queen Anne, The last of  the Stuart monarchs, is on the throne but is besieged by sadness, gluttony and manic mood swings. She has lost seventeen children and now keeps seventeen rabbits in their place, while also enjoying many unusual activities. Anne is distracted from her duties as Queen and is extremely vulnerable. She relies heavily on Sarah Churchill, the Duchess of Marlborough. Sarah is powerful and persuasive, trying to make the Queen continue with the war as her husband is at the helm and she wants a level of power. Although she obviously cares for Anne( with who she is secretly sharing a bed), she is very manipulative and uses her position of favourite to her advantage. Although she is in the Queen’s life and attempts to steer her away from the political efforts of leader of the opposition Robert Harley, she doesn’t account for the arrival of someone vying for position. This person is her impoverished cousin Abigail Hill, who was formally of high society but now of a lowly station. She begs Sarah for a job and is put in the scullery. This is much to her chagrin and she aspires for more in life than the drudge of being a simple servant. She gains a chance at climbing the ladder when she helps with making something that eases the gout which the Queen suffers from. Anne takes a shine to Abigail and has her become an ever more present person in her life. Sarah doesn’t take kindly to this, having misjudged Abigail as just a simple innocent. The actual fact is that Abigail is ruthless and cruel, willing to bend over backwards in favour of the Queen but secretly working her vicious powers to secure a foothold in society. Soon a dangerous and vindictive grab for power is at play, with both Sarah and Abigail hoping that they come out on top as the favourite of Queen Anne.

The Favourite finds Yorgos Lanthimos at his most anarchistic, tearing apart the restrained image of period pieces and inserting wildness and dirty games. If period dramas are often seen as rather innocent, The Favourite is a welcome, atypical piece that isn’t afraid to be weird and bracingly eventful. Featuring lust, eccentric activities like racing ducks and lobsters, as well as a very sexually dark atmosphere, The Favourite is very much it’s own being and an amazing change of pace. Historical accuracy is probably not what you’ll find here, but when has history ever been this fun or oddball? The script wisely makes the women layered, peeling back to reveal the flawed but fascinating nature of all of them. And there is genuine emotion to be found in this weird and cruel world of 18th Century court, mostly found in the vulnerable but not completely broken Anne. It may not be written by Lanthimos, but it unmistakably captures his sensibilities and transfers them to a sinfully, devilish and amusing tale of rivalry, coupled with a liberal sprinkling of swear words. And the spinning, panning and fish eye lens employed supplies a dizzying and whirling visual style that marks it as something different. Add to this the flickering, golden interiors that bathe a lot of the action in a dusky setting, The Favourite aces it. On musical grounds, classical music fills the main bulk of the film, creating high drama and a quickening intensity to the power struggle at the heart of The Favourite. The only tiny flaw, and it is very small, is that the film does sometimes run aground and needs a bit more pace. But with that being my only minuscule gripe, I think it’s safe to see The Favourite is one of the most outlandish and excellent movies in my recent memory.

What really brings The Favourite to an amazingly high level is the work of a trio of fine actresses. Comprising Olivia Colman, Rachel Weisz and Emma Stone, they turn in some mightily effective work that ranks as some of their best. Olivia Colman is the centre of it all with a performance of both tragedy and comedy. Anne is a melancholy and almost childlike woman who seems to be as fragile as glass and as changeable as mercury. Colman finds these mannerisms and adds yet more levels to this character, telegraphing a whole host of emotions from pity to humour as Anne shows she’s not as temperamental as she at first appears . Simply put, Colman is winning and ideal in her acting here. Ably matching her is Rachel Weisz; all clear-cut words, biting wit and intense looks. Weisz clearly relishes the dialogue and gets some wickedly, catty put downs. Yet like the other ladies here, Weisz displays another side to her role and makes it multi-faceted. Emma Stone, complete with crisp, English accent, delivers one of her most memorable performances in a role that is far away the most daring one she’s ever done. Being a vindictive charmer whose innocent appearance masks a grasping and scheming viper, Stone’s having a ball. There are flickers of desperation there, but Stone most excels at being nasty and seductive. It’s not hard to see why all three ladies are in awards contention. In supporting roles, Nicholas Hoult is a hoot as a plotting but ridiculous member of Parliament, whose giant wig is as big as his ego. Joe Alwyn also provides much silliness and rakish behaviour as a nobleman who becomes infatuated with Abigail.

A completely brazen and well acted movie that boasts the trademark uniqueness of Yorgos Lanthimos and a strange depiction of power play in regards to royalty, The Favourite stands as one entertaining and unusual movie that for me is a must see. It’s a crowning achievement of directing and acting.

The Lobster

Tags

2010's, Angeliki Papoulia, Ariane Labed, Ashley Jensen, Ben Whishaw, Colin Farrell, Comedy, Drama, Jessica Barden, John C. Reilly, Léa Seydoux, Michael Smiley, Olivia Colman, Rachel Weisz, The Lobster, Yorgos Lanthimos

Director

Yorgos Lanthimos

Starring

• Colin Farrell as David
• Rachel Weisz as Short Sighted Woman
• Léa Seydoux as The Loner Leader
• Ariane Labed as The Maid
• Ben Whishaw as Limping Man
• John C. Reilly as Lisping Man
• Olivia Colman as Hotel Manager
• Jessica Barden a Nosebleed Woman
• Ashley Jensen as Biscuit Woman
• Angeliki Papoulia as Heartless Woman
• Michael Smiley as Loner Swimmer

A provocative and riveting satire on the societal pressures of being in a relationship, The Lobster has Yorgos Lanthimos at his most biting and weird with this drama, highlighted by very dark humour.

In a dystopian future, being in a romantic relationship is enforced. Those who are single are sent to a coastal hotel. David is one such person after his wife leaves him in the opening scenes. Sure enough, he is whisked off to the hotel. He is informed by the Hotel Manager that he must find a soul mate within 45 days. If he fails to meet this deadline, he will be turned into an animal of his choice( his being a lobster that gives the film its title.) Guests are expected to find someone who they share a certain characteristic with, no matter how small or seemingly insignificant. In this strange system, many rules must be obeyed and are punishable with force if one doesn’t submit to the way of thinking. David attempts to find a companion in this bizarre place, as he watches others go to unusual measures to ensure they aren’t transformed. The guests are given some chance at surviving as each night they are sent into the woods to tranquillize people known as The Loners. Each body tranquillised earns them an extra day to find a possible soul mate. After a brutal encounter with a heartless woman, David flees the hotel and into the woods. There he meets The Loner’s; headed by a steely female leader. She explains that The Loners don’t believe in or condone love. In fact, if anyone does fall in love while in their camp, they are buried in a shallow grave that they dug earlier and left to die. What was first an escape from what he thought was a nightmare, being in the company of The Loners is just as restrictive. But David can’t help but fall for a short-sighted woman, a connection that puts him and her in extreme jeopardy. Yet as he is caught between two evils, he must decide what must be done to survive and maybe experience love with the Short Sighted Woman.

Yorgos Lanthimos is on dark and typically idiosyncratic form in his direction of The Lobster. His penchant for wide-angle shots and those that cut out faces are apparent and coupled with a number of close-ups. The grim and evocative cinematography of Thimios Bakatakis, shows the oppressive thinking of most in the film and is like a constant gloomy spectre over them. The fact that a lot of it is natural lighting adds a lot of dimension to the harsh surroundings and creepy underbelly of it. Typical of his work, Lanthimos spins mordant and very black humour into The Lobster. It infuses the movie with a strange tightrope that it walks admirably between dystopian shock and stinging lampooning. Absurdist is the order of the day as shocking events take place but are often undercut with a nasty glee and deadpan delivery. Which brings me to the script, as envisioned by Yorgos Lanthimos and his regular collaborator Efthymis Filippou. The strange, clipped way of speaking that was witnessed in Dogtooth is here, with more bite and laughs thrown into the mix. As troubling happenings and the full nature of both systems David finds himself in unravel, we are left with an acidic critique of modern dating and the implications of it. Lunacy is equated with normalcy here as guests of the hotel and The Loners represent two extremes of opinion and enforcement. Conflict with characters arises as both ends of the spectrum clash. And with most characters rendered no name, only a certain quality, weirdness continues to flow through the veins of The Lobster. Be warned, The Lobster will make you laugh as much as it unsettles with a collection of startling scenes. Macabre is one word that comes to my mind when describing this skewering of partnership and the way we all in some way conform to what’s expected of us in regards to relationships. how snap second judgements are apparent in real world relationships is explored heavily and symbolically by the policy of having to find someone who shares a similarity. Though events are exaggerated to grotesque and horrifying heights, they still have something to say to us about the world. And we are also left to deliberate a lot of things, building an ambiguous current from start to bizarre end. The piercing and often mournful score is unusual and another representation of just how outlandish the premise is and how twisted it is when you think about it.

A stellar cast get in touch with the weirdness and deadpan nature of The Lobster and what Yorgos Lanthimos envisioned. Colin Farrell displays great comedic chops, of the physical and verbal variety. Looking curiously out of sorts( plus shape), with various, vacillating expressions and with a biting look at things, Farrell is a very excellent lead of the film. Rachel Weisz shows the most emotion in the film, having the amazing ability to use a monotone voice(typical of the tone of the work of Lanthimos and in narration here) and have a face that expresses so much, particularly happiness and sorrow. It’s a fine piece of work from the always interesting and talented Rachel Weisz. Léa Seydoux is searing and very chilling as the leader of the opposition, whose methods are just as cruel and unusual as the ones David ran from back at the hotel. If looks could kill, Seydoux would be slaying us all with just how vindictively convincing and brutal she is. Ariane Labed has mystery to her as a maid who you never know if you can trust her or not, as there is something sneaky about her. Ben Whishaw and John C. Reilly exude a certain naïveté about them as two men who ‘befriend’ and both want to avoid transforming no matter what. The two guys work well together and are collaborators who understand the ideas at play here. I liked their scenes with Farrell, where the shared awkwardness is purposefully palpable. Out the supporting cast, Olivia Colman is superb at portraying the cold, blunt and seemingly unfeeling Hotel Manager. Colman is a big standout in her screen time for her timing and delivery.  Jessica Barden, Ashley Jensen and Angeliki Papoulia all embrace the outlandish and creepiness of the piece, with only Michael Smiley being left in the cold with not much to do.

An absurdist story of conformity, dating and dystopia, The Lobster will not appeal to everyone out there. But for those who know of Yorgos Lanthimos and his trademark approach, you are in for a dark but strangely amusing treat that will linger in the mind.

Widows

Tags

2010's, Bryan Tyree Henry, Carrie Coon, Colin Farrell, Cynthia Erivo, Daniel Kaluuya, Drama, Elizabeth Debicki, Jacki Weaver, Liam Neeson, Michelle Rodriguez, Robert Duvall, Steve McQueen, Thriller, Viola Davis, Widows

Director

Steve McQueen

Starring

• Viola Davis as Veronica Rawlings
• Michelle Rodriguez as Linda
• Elizabeth Debicki as Alice
• Cynthia Erivo as Belle
• Bryan Tyree Henry as Jamal Manning
• Daniel Kaluuya as Jatemme Manning
• Colin Farrell as Jack Mulligan
• Robert Duvall as Tom Mulligan
• Jacki Weaver as Agnieska
• Liam Neeson as Harry Rawlings
• Carrie Coon as Amanda

A reinterpretation of a Lynda La Plante novel that was also a television series in the 80’s, Widows, as directed by Steve McQueen is an enthralling and character driven slow burn of a heist thriller and drama with superb acting.

In Chicago, a heist that was organised by Harry Rawlings goes horribly wrong and results in his and the other members of the criminal group being killed. Following this, Harry’s widow Veronica is threatened by mob boss Jamal Manning , who Harry stole from and who wants money back to finance his campaign to run for alderman. He warns her to get $2 million to pay him back soon or suffer the consequence, which will most likely come in the form of his terrifying brother Jatemme . His rival for his desired position  is Jack Mulligan, a slimy, spoilt politician who wants to step out of his father’s shadow who also will figure in a certain capacity of the story. After acquiring Harry’s notebook of plans for another heist, Veronica contacts the widows of the other dead men. Linda, who owns a dress shop is in a similar predicament as her husband sold her business without much thought for her and Alice is a battered young woman who is strapped for cash and harangued by a harridan of a mother. One widow isn’t interested in it, so Veronica enlists the help of the fierce Belle, who it just so happens to be Linda’s babysitter. She plans to relocate and could do with a chunk of money to help with this. The plans of the heist starts to form with the group, but various things throw up stumbling blocks and set in motion what could be deadly for the ladies if they don’t succeed.

Steve McQueen is already an established director who is on fire here, bringing his knack for looking at dramatic subject matter and blending it with some really tight tension. We get a plot that seems straightforward, but is actually very twisty and frequently takes you by surprise. We also get commentary on many themes such as racism, hypocrisy , sexism and crime, but thankfully they are given good rendering and not heavy-handed. McQueen clearly has something to say and his cinematic talents lend themselves well to his vision. One great example is Mulligan moving from an impoverished area to his plush house which is a minute away. The fact that the windows of his car are blacked out show how little he and sometimes others understand social divide. This is a heist thriller with a difference as the main characters are not professionals in the art of stealing and the heist itself is not the most important part of the film. Undoubtedly, it forms a ticking time bomb for the characters but it’s watching how these people react to the seemingly impossible task ahead that provides Widows with its biggest impact. We get to know these women and their lives and what ultimately brings them together. They don’t want to be friends or even know each other that well, but all are drawn into a certain sisterhood of unfortunate circumstance that leaves them with no choice but to resort to planning a heist. These are women who are realistic and not simply superheroes, a film like this is too good to go down that route to making it a matter of fluffy caper. There are real stakes here and ones dripping with double-crossing danger. Some may take issue with the gradual build up, but I thought it added more dimension to the film as we viewed growth within characters and their actions. McQueen should be commended for how he keeps all the stories and arcs spinning in tune and given time to breathe. It could have fell apart as there is sometimes a lot going on in Widows, but Steve McQueen and the screenplay from him and Gillian Flynn keep us firmly rooted and invested in the ways they link. The editing, which cuts back and forth in time at various intervals and can be choppy one minute and contemplative the next is something to admire. And set against a building and rumbling score from Hans Zimmer, Widows particularly soars.

A string in Widow’s ever impressive is the ensemble cast, which is simply to die for. Viola Davis heads proceedings with an intimidating and grim seriousness, that also allows for humanity and sadness emerging. Davis rocks the role of a woman who has lost everything and becomes an unlikely but indomitable presence in something she never thought she’d have to do. It’s when she doesn’t say anything that she truly comes alive; her face a canvas of subtle and nuanced emotion. It’s a very fine performance by an always impressive actress who it appears is incapable of disappointing. Michelle Rodriguez is a little softer here than the usual tough chick she plays and it works surprisingly well. I just wish she’d get more roles that blend her toughness with that something else like the one displayed here. Elizabeth Debicki is another standout as the often needy and almost childlike Alice, who it appears is incapable of having a relationship with anyone who won’t abuse or mistreat her. Debicki plays her like a broken down China doll, only later on she starts to harden herself and increasingly mature. Cynthia Erivo rounds out the main ladies with an abrasive attitude and no-nonsense visage that is palpable and strong from the moment we see her.

While it is the ladies of the ensemble who take the lion’s share of screen time, the men also show they are no slouches. Particularly of note is rising star Daniel Kaluuya who bristles with an unnerving swagger and alarming intensity. He puts you on edge throughout Widows and it’s a big credit to him that you feel that way. Bryan Tyree Henry also has an intimidating nature, but one that is tempered with shrewd smarts. Colin Farrell is really fleshed out as a conflicted politician who almost expects everything simply because of standing but also a desire to escape the way his father thinks. It’s a fine balancing act and one that is played well opposite the always watchable Robert Duvall. Liam Neeson, mostly seen in flashback, is like a spectre on proceedings as he is the one who instigated everything and has his fingers over all. Also here is Jacki Weaver, who plays in a short but memorable time the vile and suffocating mother of Alice, whose idea of trying to help is by attempting to coerce her into prostitution. Carrie Coon may be given the least amount of screen time but from what we see, her presence figures unexpectedly into things.

With a focus on characters and depth, Widows earns high points and is simply put, a very well made film with heart and tension. Steve McQueen crafts this engaging and twisty thriller drama that must be seen.

A Star Is Born

Tags

2010's, A Star Is Born, Bradley Cooper, Drama, Lady Gaga, Musical, Sam Elliott

Director

Bradley Cooper

Starring

• Bradley Cooper as Jackson Maine
• Lady Gaga as Ally
• Sam Elliott as Bobby Maine

The fourth version of a classic story of two careers in opposite directions, A Star Is Born certainly has pedigree. And though some may have scratched their heads at why another remake should be done, I’m sure they’d agree that this version sits up there with the best of them, thanks to what Bradley Cooper and Lady Gaga do with it.

Jackson Maine is a country rock star who has seen better days. Plagued by tinnitus and an addiction to booze and pills, his life is going through the motions. Drunk and in the middle of touring, Jackson stops in a drag bar. It is here he encounters Ally; a young woman in a dead-end job with dreams of being someone. She’s a talented singer and has a tough personality but is crippled with insecurity over the shallow people in the music industry who have dismissed her appearance in the past. Jackson is immediately struck by her and she is curious too. They grow closer to each other and Jackson helps Ally make a leap for stardom. They fall in love and marry, with Ally being a good influence on Jackson. She eventually becomes famous after Jackson invites her on stage to perform. Despite her initial nerves, she blows everyone away with her voice. Yet as stardom beckons, people want to mould her into something else and as her success soars, Jackson’s falls. Ally tries to retain her individuality, but her pushy manager has her switch her act and lose herself more and more. This causes an immense feeling of jealousy and resentment that has Jackson reaching for the booze and pills again. All of it hurtles towards tragedy for the couple as one career rises and the other inevitably falls.

Bradley Cooper makes a remarkably involving and emotional movie with A Star Is Born. He gets straight to the heart of the material and the themes of celebrity and tragedy with cracking results. It’s hard to believe that this is his directing debut, as he displays a deft understanding of film making and how to bring us close to the story in many ways. This version feels a bit more gritty, raw and stripped back and is all the better for that. That’s not to say it doesn’t have its nice and quiet moments though and many of this scenes stand out for their impact that has darkness but some lighter touches too. But where the film shines brightest is in the performance numbers. With a soundtrack written predominately by the two leads, A Star Is Born is brimming with show stopping tunes with a deeply personal undertone. One of the best is ‘Shallow’, a duet between Cooper and Gaga where both give it their all and Gaga telegraphs Ally’s burgeoning belief in herself. This song that packs the biggest emotional wallop however is ‘I’ll Never Love Again’. Seriously if you aren’t weeping during that sequence, you’ve obviously taken leave over your heart. a restless camera that often has extreme close-ups of faces and actions is employed throughout A Star Is Born. We are put into the action as love blooms for Ally and Jackson, but resentment grows as Ally’s career takes off and Jackson spirals further out of control. The story of A Star Is Born is familiar to most of us, but the new flourishes show it’s a tale that can be very timeless and take on many guises. It’s been told many times but when done right, like it is here, it really soars.a restless camera that often has extreme close-ups of faces and actions. We are put into the action as love blooms but so does resentment and addiction which spiral out of control. Some may find it to up close in the way it’s shot and that time flies a bit too quickly sometimes , but it’s still mightily effective storytelling despite some minor quibbles. The story of A Star Is Born is familiar to most of us, but the new flourishes show it’s a tale that can be very timeless and take on many guises. At the centre is a tragic love story that is strongly told and fraught with melancholy. It’s been told many times but when done right, like it is here, it really goes to new heights.

Bradley Cooper turns in one of his strongest performances in his career. Over the last few years, Cooper has steadily become a very reliable actor and a versatile one. Here, with his usually amiable voiced lowered considerably to a growl( and surprising musical chops), he displays such raw anger, sadness and tiredness that is very believable. Jackson is someone who has success but usually doesn’t see it and instead drowns in pity. Ally may represent the light for his safety, but Cooper finds that Jackson is so wound up and dependent on addiction that the once bright spark will eventually go out. Cooper is nothing short of a knockout here and this is extremely excellent work from him. Any worries that Lady Gaga’s image as a pop star will overshadow her performance are put to rest immediately as we witness her immense talent for acting by drawing on some of her own experiences. We all know she can sing, but here she takes it to another level and rocks us to the core. And her acting is one of the biggest assets of this movie. With personality, strength and vulnerability, she plays Ally tremendously as he feels so real and natural in this film, signifying her skill in this arena. We observe someone growing in confidence but being faced by many trials along the way and it’s played with an authentic and engaging edge. Gaga is at the top of her game with a compelling and sympathetic turn that announces great promise in an acting career. Cooper and Lady Gaga make for an incredible couple as their chemistry is immediate and extremely genuine that we feel the emotional highs and lows of their lives. Sam Elliott, of the moustache and grizzled, deep voice, steals whatever scenes he appears in as Jackson’s aggrieved brother. He’s been there for his brother but has a very fractious relationship with him. Elliott shows him to be the person who says it like it is often bluntly, but ultimately wanting to help his brother in the long run.

An excellent version of a classic story with two amazing central performances and  emotional material, A Star Is Born is strong movie making that has an impact on you. And after watching this excellent version, I’m very tempted to see the other interpretations again.

Don’t Breathe

Tags

2010's, Daniel Zovatto, Don’t Breathe, Dylan Minnette, Fede Alvarez, Horror, Jane Levy, Stephen Lang

Director

Fede Alvarez

Starring

• Jane Levy as Rocky
• Dylan Minnette as Alex
• Daniel Zovatto as Money
• Stephen Lang as The Blind Man

Don’t Breathe is an economical home invasion horror with jolts of terror throughout. Best watch this movie with the lights off for the full effect.

In Detroit, a trio of teenagers are perpetrating a number of robberies. They are Money, Rocky and Alex. Each of them does it for different reasons. Money is a major hothead with a chip on his shoulder , whereas Rocky wants money so she and her sister can escape her mother and Alex is something of a tag along. When their latest heist and the things they procure don’t sell or bring in a profit, they think it’s time to step it up. Money hears of a possibly lucrative heist that should be easy enough. A former army veteran, who was blinded in conflict, supposedly got a big cash settlement when his daughter was killed by a driver some time before. Although Alex is resistant to the idea, he ultimately goes along with their plan. Once they get through the locks and evade the snarling dog, their plan seems to fall into motion. Just as quickly, the Blind Man wakes up and shows how deadly he can be by murdering Money. For Rocky and Alex, things have gone from bad to worse. What ensues is a terrifying night of attempted survival as the remaining two realise that the Blind Man is really not the person they should have taken for an easy target.

Fede Alvarez brings us an unrelenting ride of tension and heart-pounding horror. He is clearly a student of the genre who knows exactly the buttons to press to get a reaction from the audience. Alvarez gets that silence is golden and wisely limits dialogue, to really stress the situation if the character and how the tiniest noise will alert the Blind Man to their presence. And though there have been a whole host of home invasion movies in the past, (some good and some bad), Don’t Breathe is definitely in the former category. And by having the people invading the house being the unwitting victims who are terrorised, the usual formula is flipped and the power goes to the antagonist. And speaking of antagonists, one could argue that the larcenous trio who  break into his house are just as bad as the man himself. Though once they reach the basement, things switch rapidly and you’re back on their side. Night vision plays a big part in creating the claustrophobic setting for the film, particularly when the teenagers are forced into darkness with barely a light for them to follow. It functions to show that the Blind Man more often than not has the upper hand on them which they come to discover.  Don’t Breathe can get really nasty when the occasion rings for it and in one instance, it’s very unexpected ( and this is coming from a seasoned horror viewer.) Those who have seen Don’t Breathe will know exactly to which bit I refer, but I won’t spoil it for those who haven’t viewed this twisted cat and mouse game of a movie. All I’ll say is twists come in plentiful fashion here. Sound design is heightened to coincide with the acute senses of the Blind Man, so every little creak of a floorboard or scurry of a footstep reverberates with maximum scares. The music of Don’t Breathe blends beautifully with the sound effects to create real ambience.

The trio, specifically Dylan Minnette and Jane Levy, show that their characters while committing crimes, are not all necessarily bad people. In particular, Levy stands out for her work as the terrified and determined Rocky, who realises she must fight a hell of a lot in order to survive. But it’s the main source of tension and terror that takes the acting plaudits. Stephen Lang, although he barely speaks, resonates with deep rooted menace and surprising agility. There is even some pity that he evokes in the central threat, but he works best when showcasing his keen senses and viciousness that won’t give up.

With a high load of tension and credible atmosphere on show, Don’t Breathe is a lean, mean horror perfect for this time of year in the run up to Halloween.

The Shallows

Tags

2010's, Blake Lively, Horror, Jaume Collet-Serra, The Shallows, Thriller

Director

Jaume Collet-Serra

Starring

• Blake Lively as Nancy Adams

An energetic, nail-biting horror thriller, The Shallows is entertaining in many ways. Originality is checked at the door and we are vibes a fun and at times terrifying fight for survival between woman and beast. This is the first entry into my Month of Horror.

Nancy Adams is a medical student who has traveled to Mexico in the wake of her mother’s death. She goes to a beach she knows her mum loved in order to honour her memory and avoid dealing with her father, who it seems is distant from her. She takes to the surf and is relaxing in the sun. After encountering a dying whale, a monstrous Great White Shark attacks her. Nancy’s leg is injured, but she manages to clamber up onto some rocks. Being a medical student, she treats her wound the best she can as terror sets in. Being miles from land and knowing that the tide will soon wash her away and her safety, she has to embrace an inner toughness and fight back in order to live in the face of the shark. The question is, just how long can Nancy survive as the tide turns and the shark comes looming?

Building on a simple prestige of the lone female being menaced by something horrible, Jaume Collet-Serra ratchets up the tension from the start. He drip feeds smidgeons of foreshadowing that something bad is going to happen among the glorious cinematography. The Shallows deserves kudos for its visual appeal, especially in the lighting and scenery. The lush surf is rendered gorgeously as a paradise before the predator comes calling for food. Plus, the technique of showing us the time and connecting Nancy with others, in this case a videophone, leads to some wonderfully nifty shots. Added to this are frequent close-ups on her face that display her resilience and terror in the face of horror. Now The Shallows isn’t a perfect movie, some areas lag, but it isn’t trying to be the best movie out there. What it wants to do is scare and excite, which it does with ruthless efficiency. It’s a B-movie with a little bit of that something extra. And it has touches of humour in the form of a Seagull that gravitates to Nancy and earns the nickname, ‘Steven Seagull’. The score is excellent at slowly carving out scares and the perilous journey that Nancy attempts to go on in order to survive the shark that is menacing her.

One of the best things in The Shallows is Blake Lively. Getting to grips with the physicality of the part, she also displays courage, heart and fierce steel as she does battle with the shark. Lively is a beauty and often her acting gets overlooked, but she shows here that she’s definitely more than a pretty face. In the hands of someone else, the part could have been just eye candy, but that’s not the case with Lively. It’s a commendable piece of work because the film largely rests on her athletic shoulders. Luckily, she is up to the task of it.

A tense and thrilling survival horror with a fine lead performance and terror at almost every corner, The Shallows is a movie that truly entertains and scares in equal measure.

The Handmaid’s Tale Season 2

Tags

2010's, Alexis Bledel, Ann Dowd, Cherry Jones, Elisabeth Moss, John Carroll Lynch, Joseph Fiennes, Madeline Brewer, Marisa Tomei, Max Minghella, O.T. Fagbenle, Samira Wiley, Sydney Sweeney, The Handmaid's Tale, The Handmaid’s Tale Season 2, Yvonne Strahovski

Expanding on from Margaret Atwood’s novel and opening up the universe created in Season 1, the second season of The Handmaid’s Tale provides immensely disturbing viewing for us. It’s gruelling but so hard to tear your eyes away from it. Caution, spoilers may well follow.

We pick up where Season 1 left off, with a pregnant Offred( Elisabeth Moss)being placed in a van and heading for an uncertain future. As it opens, she along with the other Handmaid’s who refused to stone one of their own, are taken to Fenway Park. They believe they will be hanged, but it’s a cruel act of manipulation by the powers that be. Thrown into gruelling torture by Aunt Lydia(Ann Dowd), it looks as if it’s more cruelty for all of them. More defiant than ever, Offred takes on the regime with attitude and stays it out in the hope that help will appear. Eventually, Offred is spared as Aunt Lydia discovers she is with child and exempt from punishment. With help from Nick( Max Minghella) , who is the father of her child, and the resistance, she manages to escape from her captivity. Shedding her Handmaid’s life and proclaiming herself as June, she has to contend with knowing that in order to properly escape she may have to leave the daughter she had taken from her.

June may attempt escape to the border, but it’s short lived and she is forced back into becoming the Handmaid Offred. Nick tries to help her but is sidelined by being “gifted” a wife named Eden(Sydney Sweeney). She’s a pious girl and seemingly a true believer for what Gilead stands for, but also sets up events in a tragic way. There Serena Joy(Yvonne Strahovski) is starting to scoff ever so slightly at the regime herself, but is very unpredictable in her attitudes towards Offred/June. Commander Fred( Joseph Fiennes) is his usual hypocritical self and putting on his show of self-righteousness for all to see. Meanwhile, Emily( Alexis Bledel), formerly Ofglen is in The Colonies for her disobedience. Here she must work day and night among contaminating waste with death always a shadow over her shoulder. She is joined by disturbed Janine(Madeline Brewer), who doesn’t quite understand the situation at hand after everything that’s been done to her. We also catch up with June’s husband Luke(O.T. Fagbenle) and best friend Moira(Samira Wiley), who escaped to Canada and are grappling with their own demons and survivor’s guilt. June may be broken along the way, but her desire to fight comes back gradually as she is once more asked to contend with surviving the regime and. Things take many turns as she approaches her due date.

The first season covered the novel, so with this sophomore effort, the producers and writers are going beyond the source material in different ways. And they pay off very well, though I’m sure many where unsure of whether it would pan out successfully. Certain parts from the novel that were absent from the debut season are present, but Season 2 is largely its own beast that takes the story in different directions. Thematically, Season 2 delves into guilt and the price of rebellion. June must contend with her actions having consequences on others and the devastation that fighting for what is just can bring. Duality features heavily, most prominently with June/Offred and the constant struggle of the two. It’s like a constant battle of which side will win out as the regime digs its claws into her and forces her to make a choice. Once more, the visuals are strongly composed and extremely evocative. Particularly striking are the oranges and burnt golds of The Colonies; a barren landscape almost in a permanent dusk where those who oppose Gilead are enslaved and made to work among toxic waste. It’s so cinematic and disturbing. Plus the ever-increasing close-ups provide the uncomfortable ferocity and horror of Gilead and how much of a toll it takes on the characters. Flashbacks detail the rise of Gilead and expand on the characters as they reflect on life before the takeover. June’s voice over may be limited a bit more this season, but whenever it’s there, it sure as hell does the job at capturing her inner feelings.

Just like the debut season, this second season is chock full of shocking moments. There are plenty that truly stick with you for their brutality, disturbing nature and power. The mock execution scene where the Handmaid’s are rounded up like cattle, have their mouths covered with muzzles and have nooses placed around their necks in what they believe to be their last moments is a stark and traumatising opening. Set to the sound of Kate Bush’s ‘This Woman’s Work’, it’s hard not to hold your breath. A ceremony where the Guardians of Gilead are awarded with wives who are a lot younger and basically children is chilling and totally horrifying.  One of the biggest moments of sadness and emotion is June being reunited with her daughter briefly, before she is ripped from her arms once more. It’s a gut punch to the system. And in another shocking moment, never have the repeated words “We’ve been sent good weather” been so devastating and alarmingly creepy. If anything, Season 2 ups the ante on violence and suffering. Many have criticised the increase in violence but I think The Handmaid’s Tale isn’t doing it for exploitation value, but for a cutting and harsh impact on the viewer. It’s an undoubtedly tough series to endure but it’s ultimately worth it.

Yet for all the hurt and anguish heaped upon us, hope is mixed in there in doses. The last shot hints at searing determination and immense changes to come for the characters and story. And boy did I dig it, though it will definitely divide many. My only little gripes are that some of the latter stages feel a tad rushed in the scheme of things and some things don’t go anywhere. But this is a tiny flaw in what is otherwise an arresting and disturbing series.

Elisabeth Moss is once more on powerful form; bringing out the sadness, rebellion, grief, guilt and survivor of June/Offred. The character is very much in two halves here and the strong Moss plays both of them wonderfully and with skill. There’s the fighter side of June that scoffs and will do anything to escape and then there’s Offred, the subservient vessel. Again Moss and her eyes are marvels at telegraphing varying emotions almost simultaneously. Yvonne Strahovski also continues to excellently convey the complex Serena Joy, who is by turns despicable bitch and perturbed woman realising her role in her own unhappiness. It’s a balancing act that she walks exquisitely. A slithering nastiness covers Joseph Fiennes and his interpretation of Commander Fred, who is not above abusing his power for his own benefit and spouts lies at every turn. He really becomes very vile and hateful this season and Fiennes is very adept at playing to that. Ann Dowd is once again a big standout, essaying the part of Aunt Lydia. While still brutal and very vicious, the chinks of humanity begin to come through and you see that she does have a care for the Handmaid’s, even if her treatment of them is abhorrent. Dowd is just so endlessly watchable in the role. Max Minghella is quietly conflicted as Nick, who must contend with his love for June and staying alive in the heat of the regime.

Alexis Bledel is seen a lot more than last season and capitalises on it with a stunning performance. Those blue eyes of hers are deployed in forms of rage, resistance and tragedy as we see the impact Gilead has had on her mind. She’s still a fighter at the end of the day and Bledel plays to that strength spectacularly. Madeline Brewer also returns as the haunted Janine; her wild eyes and strange mannerisms are all in order and successful. One of the season’s best weapons is the appearance of the youthful Sydney Sweeney. She plays the seemingly pious and brainwashed wife of Nick, whose naivety and sincerity is worrying but sets in motion different and irrevocable things. Sweeney is fascinating to watch as she registers that there is more to Eden than meets the eye. Although their capacities are reduced this season, both O.T. Fagbenle and Samira Wiley give great account of survivors guilt and the process of change. I just wished I saw a bit more of them. In cameo parts, Marisa Tomei as a punished Wife, John Carroll Lynch as a man persecuted for his sexuality and Cherry Jones as June’s fighting mother make their impacts felt. I must say the entire cast where at the top of their game here.

A searing, brutal and memorable series, the second season of The Handmaid’s Tale is alarmingly addictive even when it’s unsettling the hell out of you. You just want to know what happens next in the twisted world it so strikingly presents to us.